There's an enormous difference between being a critic and a reviewer. The reviewer reacts to the experience of that book.
Because Fox News is allegedly biased in favor of conservatives, critics whine like children whose lunch money got snatched. Conservatives have been pummeled for decades. Now that Fox News and conservative talk radio give people alternatives, critics squeal as if being sodomized.
If you write for the critics, only the critics will read you.
No critic ever changed the world.
Capitalists have done more good for society through their charitable giving, philanthropy and generosity than all their critics combined.
To this day I am indulgent toward orchestras that are trying to lift themselves in the world, while critics are busy assuring them that they are not the Vienna Philharmonic and never will be.
Critics are always complaining about the materialism of hip-hop and accusing the artists of living way above their means. But this ostentatious sort of spending isn't strictly the province of hip-hop. It's almost like a continuation of the American Dream.
As a director, you have to go in with a really, really, really clear picture of what you want. That's the point of my commentaries. It's so difficult because you're the harshest critic.
I think as you get older, you realize there's always going to be critics. Critics are going to win every time because they can change their critique based on the stats and their own personal feelings.
I don't expect that the scientific community now embraces and kisses me 'Oh wonderful, great you did!' we have to live with critics, this is normal. Chariots of the Gods was full of speculation, I had 238 question marks. Nobody read the question mark. They always said: Mr. Von Daniken is saying... I did not say, I asked the questions, would that be a posibility? In Chariots of the Gods, I made clear difference between a speculations and facts.
Some critics accuse capitalism of being a selfish system, but the selfishness is not in capitalism - it is in human nature.
Liberals cling to the idea that critics of welfare are motivated by greed or callous disregard for the less fortunate. In fact, during the twenty-five years that followed Lyndon Johnson's declaration of war on poverty, U.S. tax payers spent $3 trillion providing every conceivable support for the poor, the elderly, and the infirm. Private foundations spent scores of billions more, and private and religious charities even more. Nevertheless, as Ronald Raegan later quipped, 'in the war on poverty, poverty won.'
Those who live off of the donations of capitalism are often its greatest critics.
The critics try to intellectualize my material. There's no satire involved. Satire is a concept that can only be understood by adults. My stuff is straight, for people of all ages.
With the birth of the artist came the inevitable afterbirth... the critic
A critic should always strive to recapture the sense of wonder and surprise with which he first beheld a now-familiar work of art.
As the book writer for one big smash and one big smelly flop, I always wondered if anyone knows just what goes into making a great musical. When a show is a hit, the critics trip over themselves not knowing who to laud and applaud the loudest. It's that marvelous score, those urbane lyrics, that irreplaceable star. But only when a show is a flop, does anyone notice the book writer. And then it's always our fault.
Point out the problems, as long as you have a solution. I don't like critics who aren't doers themselves.
Critics say the OWS protesters hate the rich. Come on! Success is the national religion, and almost everyone is a believer. Americans love winners. But that's just the problem. These guys on Wall Street are not winning - they're cheating. And as much as we love the self-made success story, we hate the cheater that much more.
I'm not going to give in to the critics. I'm going to stop on my own terms, not on when someone else thinks I should.
A critic is a virgin who would teach Don Juan how to make love.
If the critics were always right we should be in deep trouble.
Any critic of Cezanne who described him as a painter of country scenes would be moving in the wrong direction. You must begin with the question of style . . .
If I depended on the critics' judgment and recognition, I'd never have gone into the motion-picture business.
It's crazy how every guitarist is their own worst critic in many ways.
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