Quotes About Critique

Try to read your own work as a stranger would read it, or even better, as an enemy would.

Even the finest workman needs to inspect his work critically.

When a critic sets himself up as an arbiter of morality, a judge of the matter and not the manner of a work, he is no longer a critic; he is a censor.

Mapplethorpe presented the body as a sexual object, separating it from the humanity of the person. He added nothing to photography as a medium. I hold his work in low regard.

I teach literature. That's easy for me. Take someone else's work and talk about it.

You should just evaluate the work and make your judgments accordingly. That's the way you do it in life and every other subject.

Some readers and commentators really want to scrape your insides out to make sense of your work. Others say, there's the work, it speaks for itself. Personally, I fall somewhere in the middle.

All comedy does that. Every comedian I can think of - Larry David, Seinfeld, Mel Brooks, Chris Rock - that's where the best comedy comes from, from stereotypes.

Although it's depressing to admit this, more than a handful of post-'Donnie Brasco' Al Pacino roles would have been better served by Steve Buscemi.

I've seen people who stink, but the film editor shows them just where they didn't stink. But if you're empty and manipulative on stage, it's clear.

We've played on 'Saturday Night Live' and got not even a Rolling Stone review.

Everybody is always raving about the Rolling Stones, saying, 'The Stones this, and the Stones that.' I've never cared for the Stones. They never had anything to offer me musically, especially in the drumming department.

If I can be dead honest with you, when I first see the script for a new episode of 'Endeavour,' if anything jars, I say, 'What's this? Has it got a place in our story?' And if it hasn't, it has to go.

I'm not a very big fan of 'Slumdog Millionaire.' I think it's visually brilliant. But I have problems with the story line. I find the storyline unconvincing.

As a storyteller, you have to have something to say. You have to look at the world, think about it in relationship to yourself, and say, 'I think this is a pattern,' or 'I think this is the way fatherhood works,' or 'I think this is the way first love feels.' The danger in that is, that's when you open yourself up to real critique.

A strange thing happens when Spielberg discusses his own work. His degree of self-criticism seems a direct reflection of each film's box-office performance. You will not catch him complaining that the audience 'didn't get' a film; if it didn't do well, it generally didn't deserve to.

Even when 'Stranger Things' was finished and we couldn't touch it anymore, we saw all these problems still and we were begging Netflix to go back in and fix stuff. They were like, 'Guys, stop, just leave it alone.' But it was torturous, honestly.

I don't know what DVD commentaries are about. I'd like to strangle the person who came up with that concept.

The Vulgar sham of the pompous feast Where the heaviest purse is the highest priest The organised charity, scrimped and iced In the name of a cautious, statistical Christ."1 —John Boyle O'Reilly

You read a script and its based on 'Reservoir Dogs' and 'Pulp Fiction', and it goes right in the bin.

Sometimes you have to laugh at the absurdity of this system, so as not to cry.

Let's come up with as many ideas as possible, and then put them under scrutiny, and basically try to kill them off, and if they were unkillable, then we'd keep going with them.

This book is an attempt to begin that process by highlighting the critical contribution of SRT to an understanding of capitalist social relations.

Despite the salience of Marx's critique of capitalism, this was the worst event to occur within the internal history of the project of emancipation. The theoretical turn from Hegel to Marx paved the way for a practical catastrophe.