Critical Influence Quotes

I care very much what the fans think. I'm starting to loosen my grip on caring about what critics say, because I think that critics care about what fans think of them, too, so there's a little bit of a refraction there, through that glass.

Especially in the food business, critics take very seriously how much power they have. They can shut a restaurant down.

The most exciting periods of literature have always been those when the critics were great.

More and more people think of the critic as an indispensable middle man between writer and reader, and would no more read a book alone, if they could help it, than have a baby alone.

I don't think the audience always listens to the critics. That's been proven time and time again.

We depend on the critics to give us a glimpse of what happened. Bernard Shaw championed Ibsen, who got the most terrible notices for his plays. Kenneth Tynan championed young writers, and as a result, the theatre has changed radically.

The playwright, along with any writer, composer, painter in this society, has got to have a terribly private view of his own value, of his own work. He's got to listen to his own voice primarily. He's got to watch out for fads, for what might be called the critical aesthetics.

Most critics write critiques which are by the authors they write critiques about. That would not be so bad, but then most authorswrite works which are by the critics who write critiques about them.

What little return documentary filmmakers get often comes in the form of recognition by their peers and the critics who influence doc audiences around the country.

There is not a more disgusting spectacle under the sun than our subserviency to British criticism. It is disgusting, first, because it is truckling, servile, pusillanimous--secondly, because of its gross irrationality. We know the British to bear us little but ill will--we know that, in no case do they utter unbiased opinions of American books . . . we know all this, and yet, day after day, submit our necks to the degrading yoke of the crudest opinion that emanates from the fatherland.

What makes critics dictate what is cool and what is not. What gives them the pass to say that their opinion on music or movies or anything is what should be cool and what shouldn't. I don't think it should be up to one person.

The power of the print reviewer is one of those urban myths. There have always been shows that slipped under the critical radar to become popular successes: 'Tobacco Road', 'Abie's Irish Rose' and our old friend 'Spider-Man', which got the worst reviews in theatre history and is still apparently going strong.