A Quote by Gilbert K. Chesterton
Either criticism is no good at all (a very defensible position) or else criticism means saying about an author the very things that would have made him jump out of his boots.
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I don't have a very high opinion, actually, of the world of criticism - or the practice of criticism. I think I admire art criticism, criticism of painting and sculpture, far more than I do that of say films and books, literary or film criticism. But I don't much like the practice. I think there are an awful lot of bad people in it.
I'm always very careful to make the distinction between music criticism and music journalism. A lot of people don't. But criticism doesn't require reporting. You can write criticism at home in your underwear. On the other hand, journalism takes legwork - you have to get out there and see things and talk to people.
Read as little as possible of literary criticism - such things are either partisan opinions, which have become petrified and meaningless, hardened and empty of life, or else they are just clever word-games, in which one view wins today, and tomorrow the opposite view. Works of art are of an infinite solitude, and no means of approach is so useless as criticism.
When I first prepared this particular talk... I realized that my usual approach is usually critical. That is, a lot of the things that I do, that most people do, are because they hate something somebody else has done, or they hate that something hasn't been done. And I realized that informed criticism has completely been done in by the web. Because the web has produced so much uninformed criticism. It's kind of a Gresham's Law-bad money drives the good money out of circulation. Bad criticism drives good criticism out of circulation. You just can't criticize anything.
I do see value in music criticism. Most of the criticism I have received over the years has been very good.
Mesut is someone who gets a lot of criticism, but the players who are around him are very happy to have him and play with him. He makes things very easy for us.
Certainly professionally, yes [I was interested more in history]. And literary criticism, the structure of poetry. But it is primarily as a historian that I work, although text criticism and literary criticism are very much a part of my interests.
Nice criticism is good when it tells you something. A lot of negative "criticism" isn't criticism at all: it's just nasty, "writerly" cliché and invective.
Many French directors, having now realised there was no more real criticism, that the standards of the past have gone, are very offended about the quality of film criticism.
People are more interested in reading bombastic ideas, whether they're positive or negative. Part of me has sort of lost interest in doing criticism because of that. I've always realized that criticism is basically autobiography. Obviously in my criticism, it's very clear that it's autobiography, but I think it's that way for everybody.
There's a lot of criticism in this job and what we do. It's in front of everybody and for everybody to have their own opinion about what we do. Don't be in this position if you can't handle that criticism.
It's an artist's choice to listen to criticism or not. I'm very sensitive to criticism.
One of the hardest things to live with in any relationship is criticism, real or implied. Criticism is a form of humor for them, and they enjoy feeling superior when they see someone else's discomfort.
Self-criticism, cruel, unsparing criticism that goes to the very root of the evil, is life and breath for the proletarian movement.
The man who cannot listen to an argument which opposes his views either has a weak position or is a weak defender of it. No opinion that cannot stand discussion or criticism is worth holding. And it has been wisely said that the man who knows only half of any question is worse off than the man who knows nothing of it. He is not only one-sided but his partisanship soon turns him into an intolerant and a fanatic. In general it is true that nothing which cannot stand up under discussion or criticism is worth defending.
Love is very important in The First Man, in that [Albert] Camus loves these things he never chose, he loves his childhood experience in a very real way. Their poverty meant that there was nothing else they could think about but what they would eat, how they would clothe themselves. There's just no room for other things in his family. It's difficult for others to imagine the position in which he found himself. There is no imaginary existence in their lives.
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