Gina Gershon Quotes

One thing I don't do anymore is read or pay attention to the critical response, which is a bummer because when I started, and when I was in school, I loved to read old film criticism.

The thing we call critics are not really reviewers, they are not really critics. They don't have the discipline to write what we would term as critique - it's really just reviewers. They have a common man kind of taste. If you watch them overall, they are not different from the box-office. That's my view.

I used to obsess on critical reactions to my films, and it's really not a healthy way to live your life, so my new take on it is simply, 'I hope people like it!' I'm not going to be looking at the tomato meter for at least a year! I was very lucky on '50/50' that most critics really liked it.

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.

I read every single review, because I love film criticism and I'm interested.

If you make action movies, the critics will savage you, and then your movies are outdated the following week with the new wave of special effects.

Anytime you put a movie out it's subject to such scrutiny and such criticism.

The critics mostly review the budgets when they go to see a big-budget movie. They are out to get a big-budget movie. On the other hand, if they review a picture that is done as a graduate thesis by some college film student for $25,000, it is almost sure to be admired and respected.

Whatever the critics make of 'Maestro,' I hope they don't call it a reality show.

I think what people think about my films depends on the film they see. It's all different and opinions are all different.

You can't expect critics to appreciate all kinds of cinema.

A lot of times, mainstream critics are much tougher on small, independent movies because they can be.

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.

The biggest problems with movies are expectations.

I feel reviewers are tougher on comedies in general. They don't take them seriously, and the ones that get great reviews are not necessarily the ones that I like.

One of my gripes about movies is that people take them so seriously, and the moneymaking aspects are so brutal.

There are many critics who invite me on their show, and I have told them that when my film releases, you will give it one-and-a-half star rating. That's fine. There's no issue because stars will matter when I'm planning to open a five star hotel. When I'm making films, I don't need stars.

My experience of test screenings is that you don't know what kind of mood people are going to be in, and sometimes the studios accept what Joe Blo says - and this guy could just be a frustrated filmmaker, or not paying attention.

I haven't read a review of one of my films for the best part of 10 years.

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.

Since I'm a story-oriented critic, sometimes it's difficult to discuss issues without defining them. At the same time, I try not to give away anything that hasn't been given away in first half, in TV commercials, or that isn't obvious from the set-up of the movie. My editors are aware of this tendency of mine and read carefully for spoilers.

I don't mind other guys seeing movies I want to see and then writing about them. That's fine, especially when it's the 'New Yorker''s Anthony Lane, because he knows this stuff pretty well.

I don't know anyone actually who does care what a critic says.

Out of the total of 11 movies, I got slammed.

I don't generally do movies that get good reviews.