Quotes About Critics

The thing we call critics are not really reviewers, they are not really critics. They don't have the discipline to write what we would term as critique - it's really just reviewers. They have a common man kind of taste. If you watch them overall, they are not different from the box-office. That's my view.

I noted, though, that other strong critics of Donald Trump did attend the inauguration. Hillary Clinton went. Vermont Senator Bernie Sanders went. I saw Massachusetts Senator Elizabeth Warren. I saw Congressman James Clyburn, all of whom have been critics of Donald Trump.

Particularly as a writer, it is my job to ignore social critics, or the response that social critics might have when it comes to the opinions of my characters, the way they talk, or anything that can happen to them.

As for critics, one mediocre writer is more valuable than ten good critics. They are like haughty, barren spinsters lodged in a maternity ward.

Meryl [Stripe]spoke out about the low percentage of female critics on Rotten Tomatoes. Why are there 760 male critics and just 168 women? You are immediately [biased] on what kind of films you are being told to go see. What are you told are good films? Male films.

My criticism hasn't necessarily been informed by the critics I've read. The conversations I've had with friends and fellow musicians have shaped my thinking more than the work of any critic.

Thank your readers and the critics who praise you, and then ignore them. Write for the most intelligent, wittiest, wisest audience in the universe: Write to please yourself.

The biggest critics of my books are the people who never read them.

Some critics saw fit to say that I was a great actress. I thought that was a foolish, wicket thing to say because it put such an onus and such a responsibility onto me, which I simply wasn't able to carry.

One thing that I don't think my critics realize about me is that I've been trained to look adversity in the face.

My play Safe Sex was picked apart because critics thought it was untrue. It was a play in which no one had AIDS, but the characters talked about how it was going to change their lives.

Pedants make a great rout about criticism, as if it were a science of great depth, and required much pains and knowledge--criticism however is only the result of good sense, taste and judgment--three qualities that indeed seldom are found together, and extremely seldom in a pedant, which most critics are.

I've never had an easy relationship with critics. I hold a lot of homicide in my heart. If this was another time, I'd be packing a piece.

America's critics can be heard everywhere. It is too much in love with money - worshipping the god of the marketplace, the golden calf. It has too much money, seven of the top 10 banks, eight of the top 10 companies etc. It is too stingy, giving away less of its wealth than other countries. It is vulgar, a rich barbarian.

My second play, The Birthday Party, I wrote in 1958 - or 1957. It was totally destroyed by the critics of the day, who called it an absolute load of rubbish.

The feeling persists that no one can simultaneously be a respectable writer and understand how a refrigerator works, just as no gentleman wears a brown suit in the city. Colleges may be to blame. English majors are encouraged, I know, to hate chemistry and physics, and to be proud because they are not dull and creepy and humorless and war-oriented like the engineers across the quad. And our most impressive critics have commonly been such English majors, and they are squeamish about technology to this very day. So it is natural for them to despise science fiction.

I know all the critics.

If you really put a small value upon yourself, rest assured that the world will not raise your price. Pay no attention to what the critics say. A statue has never been erected in honor of a critic.

American critics of welfare statism are often surprised to learn that countries like West Germany, with a much more comprehensive welfare state and a statistically larger public sector, have fewer government employees per capita than the United States does.

I haven't seen the show, but when it was finished I felt good about what we had done. I don't know how it will stack up with Survival, but that'll be up to the critics.

It's [Into the Badlands] something that's very, very different and I think that's why it divided critics initially because they didn't understand it or get it. They didn't understand or have a knowledge of what we were trying to do. Bringing in the Asian martial arts aesthetic to American television. For us, these are the people who will make the show a hit or a failure in future seasons. So it's for us to respect them and interact and see what they have to say.

When I was your age, art was a lonely thing: no galleries, no collecting, no critics, no money. We didn't have mentors. We didn't have parents. We were alone. But it was a great time, because we had nothing to lose and a vision to gain.

To those critics who see capitalism as a system of inegalitarian, oppressive structures, its defenders have vaunted its ability to recognize and encourage what they call individual merit and asserted not only the desirability but also the inevitability of differential reward, of earned privilege, so to speak.

I'd love to work on something that gets some type of critical respect. This business is sometimes so brutal - you work on something for months and really feel like the project is good and you're doing the best work you can, and then it just gets hammered by critics. It's such a bummer sometimes, because everything seems to build up to the release and a couple of bad reviews can make it seem like it was all a waste, which you know it wasn't.

Take heed of critics even when they are not fair; resist them even when they are.

I used to respond to people who are dismissive of my work, but as I grow older, I think it's best to ignore your critics. For one thing, they can't stand it, and secondly, you're never going to change them.

I never know who's influencing me at any time. I mean, I can take a play by Brecht and adapt it, I'm consciously adapting that play, or, as I've done with the Greek classics, Euripides and Oedipus, and I'm consciously adapting that play. Whether it influences me or not, I think it's the critics, the analysts who have to decide that. Me, I don't feel that I'm under the influence of any such sources.

When I first started, especially because I got the Critics' Choice before I'd released an album, there was a lot of scrutiny on what my character was, what my background was, what colour my hair was. I fought quite hard for the music to overtake the personality aspect.

Critics are like ticks on a dog or tits on a motor: ornamental but dysfunctional.

I don't mind critics. I mean, I wrote for Rolling Stone for a hot minute. I like criticism. I enjoy criticism. The thing I don't like is cruelty for cruelty's sake. You don't have to be a jerk to say something negative. You can say something in the negative sense and have class.

Some Critics on the Hearth are not only good-natured, but have rather too high, or, if that is impossible, let us say too pronounced, an opinion of the abilities of their literary friends.

I have always sought to be understood and, while I was taken to task by critics or colleagues, I thought they were right, assuming I had not been clear enough to be understood. This assumption allowed me to work my whole life without hatred and even without bitterness toward criticism, regardless of its source. I counted solely on the clarity of expression of my work to gain my ends. Hatred, rancor, and the spirit of vengeance are useless baggage to the artist. His road is difficult enough for him to cleanse his soul of everything which could make it more so.

Critics of Donald Trump take him literally, but not seriously. His supporters take him seriously, but not literally.

We were 6 feet under. A lot of people gave up on us, including fans and critics and show promoters and record labels.

Women excel more in literary judgment than in literary production,--they are better critics than authors.

There are no statues erected to critics.

The thing about having an audience right there laughing is that critics can write what they want, but the proof is right there in front of you.

Nobody who knows me has ever thought I was a racist, bigot, all of this stuff. All of a sudden I'm on the radio and I become one, if you listen to liberal critics. I'm a racist, sexist, bigot, homophobe. I'm a hater and all of this stuff. I'm none of those things and never have been. It's all because of my political views.

Don't be dismayed by the opinions of editors, or critics. They are only the traffic cops of the arts.

It was a movement that had all the art critics, all the museum directors in its thrall.

Curiously enough, it is often the people who refuse to assume any responsibility who are apt to be the sharpest critics of those who do.

I'm in an odd place right now in New York where I routinely get trashed by every daily drama critic and have a few allies among weekly/monthly drama critics, and you sort of plot these things out and figure it out. But it's just what any writer goes through, periods of favor, periods of disfavor. And the trick is just to keep writing and to not let an obsession.

Good Luck Chuck, a comedy starring Dane Cook and Jessica Alba, opened today, and critics are saying it has all the belly laughs you’ve come to expect from Jessica Alba.

What you want is the thing that critics love and audiences love, but that's the hardest thing to do.

In no time whatever can small critics entirely eradicate out of living men's hearts a certain altogether peculiar collar reverence for Great Men--genuine admiration, loyalty, adora-tion.

I think it's for the critics to decide whether or not their loathing of the play is based on something other than the play's merits or demerits. They must search their own souls, or whatever.

Critics are biased, and so are readers. (Indeed, a critic is a bundle of biases held loosely together by a sense of taste.) But intelligent readers soon discover how to allow for the windage of their own and a critic's prejudices.

If I depended on critics and children to make a living I'd grow broke.