A Quote by Robert Barry

I am good in the fact that most of my reviews have been very positive really. I get pretty good reviews. There have been some that aren't - critical. I think they are extremely - the people that wrote them really don't understand what they are looking at quite frankly or have a very preconceived notion of what conceptual art should be or where I am at or the fact that I may change what I have done from what I did 20 years ago. But there is always some reason that they just sort of get it wrong. And so it certainly doesn't affect my work.
There is a good deal of art that in some traditions of conceptual work are anti-affect, in fact a very large chunk of mainstream art after 1950 took against affect art altogether because they said, "No, we hate affect art because this is how we get manipulated by totalitarianism and therefore artists shouldn't play that game." And a lot of artists agreed to play that game, which I personally believe is to the loss of art.
I am humbled at the fact that I always get great support and reviews from my critics, but it's the film that requires to be good enough for it to work.
Every year I tell myself that I'm not going to read any reviews and then I do. We're all human and when I read something negative it hurts. I think when you write it's part of the game, you're going to get some good reviews and some bad reviews and that's how it goes. I don't write for the reviews.
Every year I tell myself that I’m not going to read any reviews and then I do. We’re all human and when I read something negative it hurts. I think when you write it’s part of the game, you’re going to get some good reviews and some bad reviews and that’s how it goes. I don’t write for the reviews.
My hands are heavy and most importantly they are very fast. I have been called the fastest white man alive. I don't work submissions and not because I am trying to prove something I'm just frankly not very good at 'em. I am very good at getting away. I've never fought anybody whether it was in practice or competition who could hold me down. Even if I thought I could get a submission I'm not laying underneath a grown man with my legs spread on worldwide T.V. Some guys subscribe to that theory but I am a Republican and we don't do that
The funny thing is that some reviews are published in magazines and websites that are seen by millions of people, and other reviews are in very small publications or less popular websites, and you just have to be lucky to have the good reviews land in places where more people see them, and bad reviews land in places where they will be less seen.
Writing is exhilarating, but reading reviews is not. I've been really devastated by 'good' reviews because they misunderstand the project of the book. It can be strangely galvanising to get a 'bad' one.
No, and in fact I get a bit frustrated, because I'm actually quite good at one-liners, and I've had hundreds of them over the years, and they sink without trace, and I get very frustrated. Every party conference I really work on the speeches, and I always have two or three things I'm quite proud of, and no one ever remembers them.
If you make a good show, you tend to get good reviews. I don't believe it is as arbitrary as some people tend to think, which artists do to protect themselves against bad reviews.
I read the art reviews of my work. Some critics understand my art correctly, while some don't. I simply ignore the reviews written by the latter.
It's always good to get good reviews. I read my reviews. There are a lot of writers who don't read their reviews at all. I read them; then I put them away because it's not good to engage with them too much.
I think it's important to visit people in prison. And if you know anyone in prison, I would encourage you very much to visit them. They're a good audience! I always get good letters from prisoners. I don't usually answer them because I have a lot going on in my life, but I get some really good ones, I get some really good letters from prison.
I'm always astounded that people know who I am and what I do. I still have a lot of anonymity and that's good. I don't get bothered in restaurants and stuff like that. But when I'm at events that are really geared toward animation fans, they know who I am. And I'm so very pleased and so flattered by it. People are extremely complimentary to me, and that only encourages me to continue to do more really good work. I get paid by the studios, but I know I work for the fans.
The Divorce isn't like the Da Vinci Code of TV shows. I'm not saying only a secret society is going to understand divorce. But it is a very specific show. And I don't know if you looked at a lot of the press. There's been some unpleasant reviews. And I'm not faulting those people but, they're really just not getting what we're trying to do. Which is to say, look. That may not be some people's taste. And that's fine.
I am quite happy that the Beatles came and went. There is even a sort of glory in not having it go on forever. There is a complete body of work that went from A to Z and it is all pretty damn good stuff. The one thing I am particularly proud of is that nearly every single bit of it has some good message. I feel fortunate when I look back. Life is not easy, but I've been very lucky - and I'm touching wood as I say that.
From the very beginning, all of my films have divided the critics. Some have thought them wonderful, and others have found very little good to say. But subsequent critical opinion has always resulted in a very remarkable shift to the favorable. In one instance, the same critic who originally rapped the film has several years later put it on an all-time best list. But of course, the lasting and ultimately most important reputation of a film is not based on reviews, but on what, if anything, people say about it over the years, and on how much affection for it they have.
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