I never read anything concerning my work. I feel that criticism is a letter to the public which the author, since it is not directed to him, does not have to open and read.
When 'Destroyer' was first released, we got a strong backlash from our hardcore fans. After six months, the album was dead in the water. The critics didn't think much of it, either.
We need to think about what cooking is, what context it takes place in and what its relationship to the world of art is. If there were criticisms of my presence at Documenta, that's a good thing because it means we were doing something new. Your mission in creating something artistic is to produce something new and polemical.
Don't be afraid to be outrageous; the critics will shoot you down anyway.
How the audience as a collectivity feels about a movie is important.
How do I respond to criticism? Critically. I listen to all criticism critically.
Putting aid for Harvey victims in limbo because of our own inability to handle pressing deadlines in a timely manner is not only inappropriate, but it sends the wrong message to millions of Americans in Texas and millions more who put us in Washington to do a job. We owe them better.
The U.S. museums weren't looking at my paintings at all - they hated them, irredeemably. People metaphorically threw up when they saw my work! They thought I was enlarging comics, or just copying them.
The bottom line is if the movie does well, everybody is happy and they forget about what they went through. And if it doesn't, it's 'I told you.' There's one director who I won't mention, who said, 'it's all blood under the bridge.'
A lot of people enjoyed the film 'Haywire' and a lot of people have mixed feelings on it but regardless, a lot of people have said really wonderful things about it being my first experience, that the fighting they absolutely enjoyed. So I think I've gotten a lot more fans, actually.
When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.
For me, I was entirely focused on 'Episode VIII' and having this experience, and now I'm just thinking of putting the movie out there and seeing how audiences respond to it.
When I write a book, I write a book for myself; the reaction is up to the reader. It's not my business whether people like or dislike it.
New York critics - I hear when one of them watched "A Star Is Born", he talked back to the screen.
When you're promoting a film it's really interesting trying to gauge what people think about it.
Good philosophy must exist, if for no other reason, because bad philosophy needs to be answered.
You look back on films sometimes and if they have not been as all-out successful as you anticipated you try to find reasons why maybe it didn't come off for audiences as well as you would have liked.
I know there is moral outage in regard to Mr. Milosevic, and that is certainly justified. But what about our response?
Anytime you put a movie out it's subject to such scrutiny and such criticism.
The minute we first started recording 'Defend Yourself,' I thought, 'Yeah. We're going to have to deal with a really terrible review from Pitchfork for this record.'
Yes, I'm always - I'm always surprised when you make a film and you live with it a while and you put it out, you never dream that anybody is ever going to want to really see it.
Sometimes the critics will like a film, and the public doesn't come. Sometimes the critics won't like the film, and the public will come. It's completely spontaneous. It's a hazard.
For any cultural performance involving me, the response from Kolkata is the most critical. If I pass here, I will pass elsewhere.
Anytime I make a movie, I really have absolutely no idea how it's going to go over. I've had the whole range of different kinds of reactions.
It's nice to be in a movie that hasn't been absolutely slaughtered by the press.
