A Quote by Motsi Mabuse

Once you've been in the public eye, you are always going to be criticised. — © Motsi Mabuse
Once you've been in the public eye, you are always going to be criticised.
Once I got in the public eye there was no going back.
My experience of being on the public platform got more multi-faceted, multi-dimensional, and my place in the public eye, I think, has always been a little more than just what is going on in that time in my life.
I've grown up in the public eye, and every decision I've made has always been so public and often inaccurately reported.
So, but I've always been very realistic about what it is when you're in the public eye.
But that's the beauty of being in the public eye - people are always going to have opinions and I respect that.
I've been in the public eye now for about 15 or 16 years, and I'm very aware that fame is not a given. I have to maintain it. It's not just something that will always be there. But I've always been a worker. I've never expected be given anything.
All of the films that I've made are about the country I live in and grew up in... And I think if you're going to put an artist's eye to it, you're going to put a critical eye to it. I've always been interested in the gray area that exists between the black and white, or the red and blue, and that's where complexity lies.
One of the nice things about moving from acting to writing is that your work can be in the public eye without having to be in the public eye yourself. I guess that's not completely true. If you're lucky - and I have been - there are book tours and lectures. I don't have stage fright, and I enjoy meeting people, so that's easy and enjoyable, but it's not a constant, and it's not celebrity.
Of course in Turkey I'm seen as being on the 'Western' side, criticised by the nationalists, criticised by the communitarians as not belonging. Even, sometimes, criticised for looking at my country through Western eyes. And in the Western media I'm portrayed as belonging to the East.
The bad news for journalists today is that the media, however seriously people who are in the public eye take it, is not taken as seriously as it once was - by the public.
After getting recognized in public from my picture on our pretzel bag, I can understand not wanting to be in the public eye. It has given me a public persona I had always avoided as a child. I do it because it's for a good cause.
Being in the public eye, you're always worried about what angle people are going to take pictures of you at. I don't really care anymore.
I've always been criticised for how filthy my material is. Victoria Wood said to me once, 'I wish I was a bit ruder, like you,' and I said, 'Well, I wish I was a bit cleaner, like you.'
To me the biggest irony of this lifetime that I'm living is that for someone who thrives in the public eye in the creative ways that I do, I actually don't enjoy being in the public eye.
For Sabina, living in truth, lying neither to ourselves nor to others, was possible only away from the public: the moment someone keeps an eye on what we do, we involuntarily make allowances for that eye, and nothing we do is truthful. Having a public, keeping a public in mind, means living in lies.
For once I want to have a relationship outside the public eye.
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