Critical Reception Quotes

Of course the success of A Boy's Own Story took me utterly off guard.

Content is now the most import factor that decides a film's success at the box office, so we as filmmakers are all trying different stories.

As for how criticism of Keats' poetry relates to criticism of my own work, I'll leave that for others to decide.

I'm sure with a production that's not particularly well received or mediocrely received, it must be incredibly challenging to get up and keep doing it.

I don't want to admit it, but I do enjoy the feedback from the audience. It's instant feedback. It's like, you could do a movie, shoot it for a year, wait six months, it comes out and you gotta do three weeks of marketing. Three weeks of that, and everyone goes, 'It sucks.'

I've sold a lot of records. I've sold, like, 150 million records, and I don't think I've had that many good reviews. It's one of those things that when you're really successful, critics hate you just because you're successful.

I've published a couple of short novels in France that I didn't want to publish in English because I loved the characters too much to subject them to American critics who were not exactly favorable toward my work.

Balaji has always had great market presence, be it in film or television - everyone was talking about the titles, about what happened on the sets, even the most bizarre and outrageous things are out there to be judged by audiences who inevitably decide to come to the theatres to watch our film.

I try not to let myself get too wrapped up in the image of whatever my books have become in the outside world.

When something is not liked by people, you cannot make it run, however big actor or producer you may be. The audience has to make it a hit. The power is in the hands of the public.

I've had movies bomb with terrible reviews, I've had movies make a lot of money with terrible reviews, I've had movies get good reviews and make money. And I like it best when the movies do well and the reviewers like them.

I don't think about how much business my films will make.

People will say a movie bombed at the box office but I couldn't care less.

When a film does well, everyone is usually happy and grateful, but for me, the impression the film leaves upon my mind is created during the process of filming; my memories are not a reflection of critics' reviews and box office figures.

People don't want to always see a comedy or an action film. If the film in a particular genre is made well, then it will see its share of success.

We take from the art of the past what we need. The variable posthumous reputations of even the greatest artists and the unpredictable revivals of interest in even the most obscure ones tend to reveal more about those who make revisionist assessments than about those who are being reassessed.

When you're releasing an album, you never know how it's going to go. You never know how a critic is going to receive it or how much it's going to sell.

I feel lucky to receive such critical attention and praise when you're in a show that's going to last a month, it's just easier when audiences are more receptive. I've done two new shows this year, so I'm always excited to work on something a little older, traditional and structured.

I have worked on very good movies that have been buried, and I've worked on some resounding mediocrities that have been paraded through the marketplace like they were masterpieces.

We work hard on every film, and then it's up to the audience whether they like it or not. At the end of the day, it is the audience wish what to accept and what not.

Probably more than any other movie we've made here at Pixar, 'Up' was the one we were the most nervous about.

There's never been a mathematical equation that says a good experience making a movie equates to a good movie, or a bad experience on a set is going to lead to a bad movie.

Every time I make a new record, some of my existing fans are going to like it, and some are not. It's inevitable, and it's part of the deal. It's part of the job description.

You can't plan for people to like your movies. I knew that people were not going to run in droves to the theater for the 'In the Valley of Elah.' I knew they might not want to see it, but I still had to the movie; I felt very strongly about it. Wanting to keep telling a good story is what you want to do, a compelling story.

What counts in Hollywood is box office. It doesn't really matter what people think of you as an actor because, as long as you have been in a movie that has made money, you will always get another job.