Quotes of All Topics . Occasions . Authors
And it's always possible that you will not get a nice review. So - and that's enraging of course, to get a bad review, you can't talk back, and it's sort of shaming in a way.
At one level, an award is an endorsement, a confirmation, but I always find myself looking askance at awards and good reviews, as though another Garry Disher had earned them.
Combined families often get bad reviews, but the family my children got when they traded away 'the suffocating four-person' nuclear one is one that has benefited all of them.
So far I haven't really been prominent enough to get critical attention focused on me. So, of course, I fully expect bad reviews, but I will be wracked with misery as a result.
I don't really make movies because I want to see my face on a billboard or because I want to get good reviews or have a big box office. That doesn't really matter to me at all.
I don't read reviews and I don't know what to do with opinions, so I just lose them. They take up space, they become a process of manufacturing a persona, which I want to avoid.
If I want to know how to do a black cat eye, I don't drive to a department store. I'll go on YouTube, cross-check reviews of a product, and then maybe talk about it on Instagram.
I know better than to read reviews but I do it anyway. Somebody described my pacing as 'glacial.' I wasn't thrilled, but I think they meant it in a not entirely unflattering way.
All over the web there are some very good critics and it's become for people who are interested. It's become a very good way to get to reviews and involve yourself in discussions.
I was seeing a lot of really good things about Get Shorty when it came out, and my wife pointed out that if you validate the good reviews, you also have to validate the bad reviews.
My generation was not only maligned in book reviews and attacked in graduate school but we lived to see our adored and adorable daughters wonder why feminism had become a dirty word.
I don't usually read my reviews. I've noticed older reviewers are much more bothered by the plot complications. Younger reviews don't seem to be bothered by the complications at all.
I'm still spending my working life trying to mine people's souls and now they're complimenting me in reviews on the amount of time I spend in the gym. On the definition of my triceps.
I love my job, and I love books. I read anything, including cereal boxes. I care deeply about what people think of my books, and I memorize my reviews. I love to hear from my readers.
One thing that brings me great, great joy is reading the reviews of 'Civil War' and seeing the much deserved credit that Chris Evans is getting for his performance as Captain America.
After each book, I get panicky. I don't love the reviews. I don't like going through all that, and you would think that, after almost 40 years of writing, I'd have got the hang of it.
Gone are the days when a publisher could take out an ad, count on a few reviews, and have an author do a couple of signings. Nowadays, readers want to feel a connection with an author.
In my career as a writer, I preferred to avoid current events: I wrote young adult novels and book reviews and lifestyle journalism about health and parenting and other such evergreens.
I hear what people say, I read all the reviews, all the blogs, and I am always curious to hear it, because you can't always listen to the good press, you have to hear the bad press, too.
I had been with the label since I was 21. The label wanted shiny pop but I didn't. I found a little independent and we've got all these great reviews in England and now it has gone gold.
My resume showed membership on both the Harvard and Columbia Law Reviews, a credit impressive abroad where it was not generally known that Law Reviews were student-operated publications.
I tend to not only read reviews, but also every little stupid thing online. It's a very bad idea, and there's a lot of angry people in the world. And it's weird to absorb all that weirdness.
I'm not much a TV reporter, as in someone who covers the daily machinations of the television industry, though I certainly follow it and weave it into my reviews and essays about the medium.
You see, I read reviews of people like Paul Simon, and they don't talk about the fact that he's looking old or whether he is fashionable; they talk about the music, which is how it should be.
I don't take reviews very seriously, but in their totality I think they are representative of how the audience feels, and of what their reaction is. There's always one guy who doesn't get it.
I don't read the reviews because they're too horrible and the reviewers have not been big supporters of mine over the years, probably because I make these big populist movies and they hate it.
Most high courts in other nations do not have discretion, such as we enjoy, in selecting the cases that the high court reviews. Our court is virtually alone in the amount of discretion it has.
The stories of wine lords who trade wine on intimidation or food critics who trade free meals for reviews... those are the stories of my life. I am telling the stories of my life in a true way.
The film's success so far involves winning a couple of prizes at Cannes and Sundance, and getting some very nice reviews in newspapers and magazines. That hasn't had a big impact on my life yet.
But in another, I think a woman's going to go into a shop to find a coat or a jacket and I just don't think she's not going to go into a shop because of a bad review she probably didn't even read.
I've experienced huge kindness here, a great welcome and some very generous reviews without the snide social edge I often suffer from at home. I'm not patronized here either, which I much appreciate!
I made a Christmas album a couple of years ago and just put it out on my Web site. It kind of smacked of this flavor. All of the reviews said it was Western swing even when it was Christmas standards.
I don't read young adult or children's books, now that my grandchildren are beyond the age of my reading to them. I read reviews, and so I'm aware of what's out there. But I tend not to read the books.
I'm not very popular, because they're bleak and they're mournful and all the rest of it and I get censorious reviews. But I'm only writing fiction. I'm not making munitions, so I think it's acceptable.
I can understand why we got bad reviews. We went right over people's heads. One album would follow another and would have nothing to do with what we'd done before. People didn't know what was going on.
How nice it would be to breeze through life and just brush things off. I never read reviews because I hate to lose more than I like to win; I experience negative emotions far greater than positive ones.
If the movie does well, or it doesn't do so well, some movies get great reviews, some movies don't... that's just part of what I do for a living. I just move through all that; that doesn't ever stop me.
The work is done; it is what it is. You do the work, and you hope people like it, and if they don't, don't read it. I don't read reviews. I don't have social media, so I'll stay away from that; it's easy.
I'm not one of those writers who insist they don't read reviews and don't care much about them. I do read them, and I do care about them, and they're not always what you want them to be in an ideal world.
I don't usually go in for reviews of buildings that aren't yet built, since you can tell only so much from drawings and plans, and, besides, has there ever been a building that didn't look great as a model?
The way people receive our music is different and some people may say that our music is not metal. But I feel that those reviews allow us to challenge ourselves and gives us an opportunity to grow even more.
I read cover to cover every jazz publication that I could and in the New York Times, every single day reading their jazz reviews even though I didn't put them in the films. I wanted to know what is going on.
I love science. I hate supposition, superstition, exaggeration and falsified data. Show me the research, show me the results, show me the conclusions - and then show me some qualified peer reviews of all that.
Reading 'The New Yorker' - I start on the last page and go backwards, reading all the cartoons. Then I read 'Shouts and Murmurs.' Then I read the reviews. Then I read the articles that immediately appeal to me.
When you hire that first person, then you're a boss. You've got performance reviews. You've got complaints about not making enough money. You've got people who are just going to sell your story to the tabloids.
In my memoir, I admit that I've been as fearful of success as of failure. In fact, when 'Passages' was published, I so dreaded bad reviews that I ran away to Italy with a girlfriend and our children to hide out.
I'm probably my own harshest critic. If I get a hundred good reviews and one really bad one, it's that one out of a hundred that I remember. I think we actors are hard on ourselves, and I don't know why that is.
I will say that over the years I've been associated with things that were well-reviewed that I wasn't particularly crazy about, and I've been in things that didn't get very good reviews that I was rather fond of.
The vast majority of writers out there, they finish their books, and no one cares whether their book is late or ever comes out at all. And then it comes out, and two reviews are published, and it sells 12 copies.
I started freelancing, writing op-eds and book reviews, one at a time. I then got the opportunity to write recurring freelance pieces for 'The Nation' magazine, focusing on how the Internet was changing politics.