A Quote by William Eggleston
The immediate reviews were very hostile, but they didn't bother me-I had the attitude that I was right. The poor guys who were critics just didn't understand the works at all. I was sorry about that, but it didn't weigh on my mind a bit.
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The group of guys I came up with in the 1990s were very innovative. I remember some of the older guys were complaining about how the music had changed, and they were being left behind. I didn't want to be one of those guys who sat around and complained because they weren't growing and evolving.
People were always sorry. Sorry they had done what they had done, sorry they were doing what they were doing, sorry they were going to do what they were going to do; but they still did whatever it is. The sorrow never stopped them; it just made them feel better. And so the sorrow never stopped.
I spoke with the crows before leaving for Los Angeles. They were the resident storytellers whose strident and insistent voices added the necessary dissonance for color. They had cousins in California, and gave me their names and addresses, told me to look them up. They warned me, too, what they had heard about attitude there. And they were right. Attitude was thick, hung from the would-be's and has-beens and think-they-ares, so thick that I figured it was the major source of the smog.
I really did feel like I was surrounded by family members. I didn't have a dad, and I remember there were all these guys - in the old days, there were no women, except a makeup artist or, occasionally, a script supervisor. So there were just guys who taught me how to, you know, whittle wood, or how to pull focus, and what the camera was doing. And if I was being bratty, they'd sit me down and tell me. There were lots of rules about not being late and making sure that you didn't spill anything. So it felt a little bit like I was in a family.
In the 1970s, a lot of critics didn't understand video. I got a lot of bad reviews. But film-makers didn't understand what we were doing, either. There were actual fistfights between film-makers and video-makers. I was witness to one.
I used to feel sorry for some of the guys who were in 'EastEnders,' who had done something terrible to somebody, and people were shouting at them in the street. I'd think: 'God, I'd hate it if that happened to me.'
I'm quite convinced in my own mind that those who were arguing that [the need to intervene in Iraq] was a more immediate one than some believed - were I'm sure convinced that they were right on fact, I don't think they were making it up. So as to lying, I don't think it has been established that any lies were told.
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.
I used to read reviews - I read a lot of the reviews when I did 'Borgen,' but the thing is, people were so harsh that I talked to my wife about it, and I said this is too tough - the people are too personal and too idiotic to understand it, in my mind.
I guess you have to be a little arrogant to be a writer. I decided early on that just because a lot of other writers were bothered by getting bad reviews didn't really mean that the things were particularly important. By the same token, the good ones didn't mean all that much either. So I just forget about reviews and I wrote what I wanted.
So many bands would say that they were alternative, or they were this or that... 'Heavy metal' was a pretty uncool word after about 1992; it was almost like, 'Stay away.' But it didn't bother us one bit. And our fans were the best ever.
The '90s were a bit of a disaster for me in so many ways. On a personal level, I don't think I could have toured. Also, I had some physical problems with my back that are now sorted and I just wasn't in the right state of mind.
When I was young I thought, 'Yeah, people don't see, they're not recognizing how funny I am, and how talented I am'. And the guys that mentored me were like, 'You just have to keep getting up'. And I look back and they were right. They were all right.
My father was a writer, so I grew up writing and reading and I was really encouraged by him. I had some sort of gift and when it came time to try to find a publisher I had a little bit of an "in" because I had his agent I could turn to, to at least read my initial offerings when I was about 20. But the only problem was that they were just awful, they were just terrible stories and my agent, who ended up being my agent, was very, very sweet about it, but it took about four years until I actually had something worth trying to sell.
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.
I think the harsh reviews helped, in that I spent way more energy in the preproduction and development. From this point of view, I'm very thankful for the harsh critics. I still think the critics were unnecessarily insulting in a lot of things, but I think it helped.
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