Feedback Reception Quotes

It's so important, after a song is finished, to go to sleep and listen to the song with fresh ears the next day. It's sometimes a traumatic event. And playing it for someone else for the first time - that is the most nerve-wracking thing of all. But we learn so much.

Constructive criticism is not much accepted in the Caribbean.

Listeners ne'er hear good of themselves.

Notes are tricky in an audition, because I find, more often than not, my instinct is right. If they have a preconceived notion about the role and it goes against my instinct, unless it makes sense to me, it often throws off what I'm trying to do. Though sometimes they have an insight that I don't because they've been living with the script. I don't have one feeling or another about notes, but it is always a little bit of a red alert when I get one in an audition.

No one should be so precious as to refuse criticism of their work. But to respect an opinion, we have to know that it was given honestly and with proper thought.

I was in a band in Auckland, and I remember they all hated me. They had a big intervention. They said, basically, 'Gin, we think you suck.' I was miserable. I cried and cried. But looking back, that taught me about social skills and how to communicate with musicians.

Ya know, if you treat every comic the way you treated me tonight, you would never see a bad show.

Some critics have been very harsh. That's okay. I like honest criticism.

With The Help, I knew folks involved in the project peripherally. I wanted to audition for Hilly Holbrook and part of the initial feedback was: "No, Bryce is too nice." That's part of the reason why I really love auditions as well - you get to try out a character and try out different versions of a character.

It's a lot more fun being a critic than being the one criticized.

It's important to take criticism seriously - not personally.

You got to be able to listen to what the coaches are saying and not get your feelings hurt.

Players like people saying good things about them and, of course, no one is ever wrong when they do that, but they always are when they say bad stuff.

So as an amateur Olympic competitor I loved criticism, because it made me better. But now as a professional I don't really know how to channel it or where to take it, so I don't take it quite as well.

Sometimes it's hard to hear criticism, or "maybe let's try a different way." People's feelings get hurt.

One of the things I try to work with white people on is letting go of our criteria about how people of color give us feedback. We have to build our stamina to just be humble and bear witness to the pain we've caused.

When I was about seventeen, I had a group called the Young Jazz Giants. We played all originals. When we would finish playing, people would be like, 'Oh my God, that was so nice, that was so great.' But Pops would never tell us we were the best. He would give it to us straight, like, 'You're out of tune. You're dropping beats.'

When you write something, at first you might feel very defensive and protective of every single thing, but after a while, you just see what works and what doesn't. Sometimes you do test screenings, and an audience tells you that, or sometimes you eventually just go, 'Let's cut the joke out.'

Unfortunately, I was like a lot of my own students, who don't really want criticism, just encouragement.

The natural response to evaluation is to feel judged. We have to mature to a place where we respond to it with gratitude, and love feedback.

I've never listened to any of my audiobooks, but I'm very, very happy that they've received such excellent feedback from readers!