The one thing I do find about serious reviews is that usually they tend to have a point, and that's what I find hurt so much about discerning critics. If the reviews hurt they're probably right on some level.
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.
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.
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.
I've had lots of commercial success. I've also had some terrible reviews and some wonderful reviews.
At some level, I feel it is nice to know that a film of yours is doing well at the box office and has also got great reviews. That feels like success.
I've seen many shows ruined by bad reviews and good reviews, so I always tell my actors not to read the reviews until after the run is over.
When you're in operations, the best thing you can do at the top level is get the strategy right. You have to get the big ideas right, you have to determine what is the policy, what is the level of effort you're willing to commit to it? And then you delegate to those who have to execute that strategy to the appropriate level. What's the appropriate level? It's the level where people are trained and equipped to take decisions so we move swiftly against the enemy.
I just don't read reviews, because it can really hurt you.
For whatever reason, luck and word of mouth - my comedy career couldn't have started better. I went to Edinburgh, selling out this 300-seater just because I got the right place, right time, right venue, right buzz, right reviews early on.
I think if you're going to read reviews, you have to just concede that they are all right. And I think I read two very diametrically opposed reviews about my movie and I had to go, yeah, I agree with both of them.
...there are only some many times you can utter "It does not hurt" before it begins to hurt even more than the hurt.
I'm involved with every single thing that they do as far as just being aware, and then they ask my opinion. I'm involved in the sequence reviews and some of the animation reviews and character designs and things like that. I give my input on that movie as well.
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.
It's literally I'll be injured or hurt in some facet and I'll go work out to heal it, to make it get better so I can hold that tolerance level.