Thomas Sadoski 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 don't make films for critics, and I'm not particularly interested in what they have to say, and they don't have a bearing on my audiences.

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.

Criticism is something that you have to take, regardless of what you do. Even if you go out there and try to make the most vanilla, non-offensive TV show possible, people are going to criticize you for doing that. It's just part of the game.

As we began working toward the finale of 'Lost,' I knew there was no possible ending that was going to be universally loved, and I accepted that. We ended the story the way we wanted it to end, and we stand by it. On my Twitter feed, I still get ten to fifteen positive comments for every negative one.

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

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

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.

My last film as director, the National Award winning 'Zakhm,' barely managed to break even. So why should I listen to so-called sensibilities of a handful of critics?

I think no matter what you do, a certain amount of people are going to call you a sellout, somehow, you know. If I ever start trying to make a living on it.

The only way artists can do things is to do it for themselves. Trying to second guess what the public wants or likes is kind of a fool's game.

I never really think about what people are going to think of the movie afterwards. Or what people are going to call me. I just want to make a great project, and my focus is really all on that. And then I really don't read reviews. Like, you know, go on comment boards or anything.

It's important to see how people see your work and how they feel about it. I know a lot of directors who are like, 'I never read reviews,' and I'm like, 'Yeah I can tell.'

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.

I mean, I think about it, but I don't design my record to get a certain public response.

Hits and flops are overrated.

Critics... They're like traffic cops. They say what they have to say, then leave, and another guy moves in, and he has his say - and it's often just the opposite. The result is either critical acclaim or critical murder, and neither has any bearing on my music or direction.

One of the worst things that can happen to an artist is to perceive himself as the owner of his art, and art as his tool. A product of the marketplace sensibility, this attitude barely differs on a psychological plane from the patron's view of the artist as a paid employee.

I don't read anything about my movies before or after I do films, or any part of show business. I think that keeps me in a kind of place where I can do the work that I need to do.

Every creator has to follow what they believe. That's the message I would love for every single executive to get, to clearly understand, and every single producer out there.

I only think in the following terms: writing, recording, releasing. That's what I have control of. What I don't have control is whether critics or the public like what I do.

There will always be some films that the audience would like and some that they don't. But if I start becoming a slave to appreciation, I will be subjecting myself and my talent to one particular type of taste. I don't want to do that.

You have to fight to get your show not only on the air but then to keep it what it is and make sure that it doesn't get manipulated into something else.

In a feature film, the question of censorship always comes up.