Christopher Mintz-Plasse Quotes

I don't pay much attention to the press. My films always get good reviews and bad reviews. I just try to make the best film I can.

I want people to come see my films and enjoy them but at the end of the day you can't control what people think.

I'm just going to write my books and do my work and release it. Let the world decide what it is, and if it's any good or not.

I want people to come see my films and enjoy them, but at the end of the day you can't control what people think.

I don't read the reviews, the blogs, or anything else. Instead, I feel the audience when I show the film.

The Weinsteins believe in test screenings. I don't. I don't think good films are made that way. Call me crazy, but I'd like to think you need a singular vision to make good art.

We have gotten some terrible reviews at times but if we depended on the judgment of the studios or critics, we never would have made more than one movie.

I don't feel, 'I've made a great film'; I feel I've made what I set out to make.

I don't think I'm making any great statements, and I certainly don't think I'm making art.

When you're doing a film, it's your film and it's, you know, your blood and - is in it along with everybody else's, and it's the greatest picture ever made when you're shooting it. It's only after the critics and then the public say you were wrong that you realize that you were wrong.

I have not given much credence to reviews of my films. Sometimes they're wrong, but it didn't matter to me.

It's funny because I remember when I came to the U.S. with 'Swimming Pool,' the movie did well, and it was great box office for a French movie, but I remember I was a bit upset because all people talked to me about was the nudity.

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.

The one thing I'm proud of as a filmmaker is that people are entitled not to like my films - that's the privilege of the public - but I think I have my own imprint.

I think that if you go about making movies to win Oscars, you're really going about it the wrong way.

Every time you do something, people are going to like it, people are going to hate it. You tend to make the movies on the basis you are making them for the people who are going to like them and not worrying too much about people who don't like them.

I am so anti-people's opinions when I'm making a record, but when it's finished and I put it out there, I hope somebody likes it.

Every time I make a picture the critics' estimate of American public taste goes down ten percent.

After the enormous success of All About my Mother, all the awards and everything, I wanted to start a movie in exactly the same place that I used to be before. I wanted to show that all of the success had not changed my perception.

It has nothing to do with commercial success. You cannot calculate in your head how to put the mosaic together to make a commercial film: that's out of the question.

I've done some of my best work in films that fell right through the cracks, so I try to not make career moves but to build a body of work.

It's hard for me to judge my own films as an artist sometimes. But as an artist, I did feel a fulfillment working on them, you know?

While I hope that people like my work, I don't think an artist should be afraid of ­people not liking his work.

The actors work out how to create the show with me during the rehearsals. They owe it to themselves and each other to maintain that contract regardless of what the critics say.

When it comes to art, you just need to be focused on doing a great thing. Not thinking all about the business.