A Quote by Roger Ebert

In my reviews, I feel it's good to make it clear that I'm not proposing objective truth, but subjective reactions; a review should reflect the immediate experience.
The problem is one of opposition between subjective and objective points of view. There is a tendency to seek an objective account of everything before admitting its reality. But often what appears to a more subjective point of view cannot be accounted for in this way. So either the objective conception of the world is incomplete, or the subjective involves illusions that should be rejected.
I built a career on negative reviews. I didn't get a good review ever until Fran Lebowitz gave me a good review in Interview. That was the first good review I got in 10 years.
Writing, for me, is a combination of objective and subjective approach. You take an objective approach at times to get you through things, and you take a subjective approach at other times, and that allows you to find an emotional experience for the audience.
Without ignoring the objective side of the truth, it has to be subjective as well, Buddha's whole teaching just for you, something you can taste. Not something to believe in but to discover, to experience.
The hateful reviews are very funny. And sometimes you can enjoy a hateful review much more than a good review.
Most people are subjective toward themselves and objective toward all others, frightfully objective sometimes--but the task is precisely to be objective toward oneself and subjective toward all others.
Whenever I see good reviews or positive reactions, I feel more certain that Blackpink will be okay pushing forward with the things we've been seeking.
Reviews are all bullshit, because they always change. When House of 1000 Corpses came out, all the reviews were awful. It was impossible to find a review better than "The worst movie ever made." And now I'll see more-modern magazines, and sometimes they'll re-review things, and I'll read this great review for it. It's the same thing with White Zombie! People talk about "Oh, White Zombie, these classic records. Why don't you do them now?" Everyone hated those records when they came out! The reviews were terrible.
I absolutely want and prize and love and revere every single media review I get, but if I got 50 reviews from major newspapers and one review from Amazon, I still would feel a little weird: 'What's going on? Why aren't people responding?'
A direct statement about yourself is considered objective only if it is negative. If it's positive, it is considered subjective. And 'objective' means it is accurate, and 'subjective' means it is conceited self-delusion.
I feel like we want to compartmentalise things and say, 'Well, that's emotional, artistic and subjective, while this is intellectual, objective and measured.' I have difficulty thinking that's the way we experience things.
Liberation from meaning leaves us skeptical of truth itself, comfortable only to acknowledge 'your truth' and 'my truth,' confident only in the reality of subjective feeling rather than objective fact.
Writers are funny about reviews: when they get a good one they ignore it-- but when they get a bad review they never forget it. Every writer I know is the same way: you get a hundred good reviews, and one bad, andyou remember only the bad. For years, you go on and fantasize about the reviewer who didn't like your book; you imagine him as a jerk, a wife-beater, a real ogre. And, in the meantime, the reviewer has forgotten all about the whole thing. But, twenty years later, the writer still remembers that one bad review.
Maybe there is no objective experience, but there is a certain way of interacting with all the subjective experiences.
We've created this cottage industry in which it pays to be un-objective. It pays to be subjective as much as possible. It's a great way to have your cake and eat it too. Criticize other people for not being objective. Be as subjective as you want. It's a great little racket. I'm glad we found it actually.
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
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