There are television critics, movie critics, and theater critics too who I like and who I follow and I get genuinely bummed when they don't like something that I've written because I usually agree with them.
When critics ask you if you feel vindicated by other critics - I didn't like critics then, and I don't like them now. There you go. I've always been outside the mainstream, and it stayed that way.
I read reviews of critics I respect and feel I can learn something from. Right now there are a lot of bottom-feeder critics who just have access to a computer and don't necessarily have an academic or cinema background that I can detect, so I tend to ignore that and stay with the same top-tier critics that I've come to respect. I like reading a good review - it doesn't have to be favorable, but a well-thought-out one - because I very much appreciate the relationship of directors and critics.
When critics love your film, you love critics. When they hate your film, you hate critics. It's the same everywhere, but maybe especially in France, where we have pretty good critics, except for three or four newspapers that are really dogmatic.
Critics kind never mind! Critics flatter no matter! Critics blame all the same! Do your best damn the rest!
I relied mainly on other artists, who I think are smarter than critics, any critics or curators or anybody like that. They really know.
I understand the feelings of critics asked to come up with the ten best films of any year, who say, Ten? Ten's a lot! - and those more generous spirits whose thumbs grow as long as Pinocchio's nose from overrating a lot of pictures, because they want the medium to do well, and because they'd like to feel good about it.
I am relatively familiar with getting a good old rumping from the critics. In some cases, the critics just didn't like the film - fair cop. Others, I think, didn't understand it.
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.
I would have been a lot more nervous if I would had known that Matthew McConaughey was [on 30th Annual Television Critics Association Awards] and Julia Louis-Dreyfus was there and all that, and I was like, "Wait a minute and Bryan Cranston's here..." I think I would have got more nervous. But I think thinking it was just like, "Oh yeah critics, we're good." It was great.
You know, if I started worrying about what the critics think, I'd never make another comedy. You couldn't pick a less funny group than critics - you couldn't find a more bitter group of people!
Unfortunately, cinema critics are very few in America, 400-500 people, but there are more critics of Iran.
The evolution of social media into a robust mechanism for social transformation is already visible. Despite many adamant critics who insist that tools like Facebook, Twitter, and YouTube are little more than faddish distractions useful only to exchange trivial information, these critics are being proven wrong time and again.
I don't really give in to the critics because critics are always going to criticize, and what have they done? A person who has never done nothing can't really care nothing about doing something. So as far as the critics, I don't care what they think. I don't have time to give to critics.
Of course, there are those critics - New York critics as a rule - who say, 'Well, Maya Angelou has a new book out and of course it's good but then she's a natural writer.' Those are the ones I want to grab by the throat and wrestle to the floor because it takes me forever to get it to sing. I work at the language.
The liberal state is neutral between capitalism and its critics until the critics look like they are winning.