Lazy reviewers look up other people's reviews and they write the same thing, so you get people writing crap based on crap.
Maybe just as many women writers as male writers could be billed as the next great American writer by their publisher. Maybe book criticism sections could review an equal amount of female and male writers. Maybe Oprah could start putting some books by women authors in her book club, since most of her audience is women.
I don't want any description of me to be accurate; I want it to be flattering. I don't think people who have to sing for their supper ever like to be described truthfully - not in print anyway. We need to sell tickets, so we need good reviews.
Certainly some guy eating cardboard in Cincinnati has lost any ordinary impetus to review your novel decently if he's just read you just got six figures out of Warner Bros - which incidentally was not true.
If I can give a young author any advice, whatsoever, never let anyone announce the film sale of your first novel. Film rights are sold to almost every novel, but it shouldn't be the lead story in your first engagement with the press. Then you end up getting reviews like "a novel made for the screen" and things like that.
Numbers don't lie. You always seem to remember your workouts as being a little better than they were. It's good to go back and review what you do.
My great love is the stage because I do feel like it's the place where, if you're lucky and everything is firing in the right way, you have the greatest shot at being successful. I don't mean by getting great reviews, but I mean by finding the core fo the person that you're playing.
The world is telling you through The New York Times and The New York Review of Books "You must shut up. You must never appear again. Because you are not relevant to us." So you have to fight their attempt to destroy you, fight to continue feeling.
Do I use VORP? I may be using it and not even know it, and if I am, it's nobody's business. There are a lot of different criteria in judging players. I think I use, um, esoteric qualitative mathematical review times five. That's one of them.
I'd known enough flush times and lean ones to understand that money came and went. And that one day I'd also lose my looks, my seemingly boundless energy and maybe the ability to catch the eye of an attractive man and the audacity to Rollerblade. My name would be forgotten. So would bad reviews, and good ones. But loving a child is something that lasts. Long after all the rest is gone, that's what endures.
A life without purpose is like a novel without a plot. It wanders all over the place, is hard to follow, and in the end, doesn't get particularly good reviews.
I am tired of reading reviews that call A Good Man brutal and sarcastic. The stories are hard but they are hard because there is nothing harder or less sentimental than Christian realism.... when I see these stories described as horror stories I am always amused because the reviewer always has hold of the wrong horror.
I've read a couple of reviews that say I'm getting harder in my old age but I don't think that's true at all. I think that you can't help but become a little cynical about life and love but I'm still a romantic, I'm still an idealist.
There is a misconception of tragedy with which I have been struck in review after review, and in many conversations with writers and readers alike. It is the idea that tragedy is of necessity allied to pessimism.
I've never yet read a review of one of my own books that I couldn't have written much better myself.
I'm used to getting reviews. I try not to read much because you'll always focus on the bad ones and not remember the good ones, so it can be a negative thing for a performer.
There have been two [career highlights]. Waking up in New York to hear I'd been nominated for Best Actor for a Tony Award on Broadway, for An Ideal Husband. The other one was waking up the morning after the opening night of A Man For All Seasons and reading the reviews.
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.
Finally, the House is working to require a comprehensive federal review of IRS regulations with a follow-up report to Congress on possible actions to reduce the tax paperwork burden imposed on small businesses.
It’s the opening of Manderlay in Cannes, and I’m sitting next to this guy who’s writing for a tiny fictitious French paper called ‘On the Sunny Side,’ and he’s writing a review on the film, and he’s obviously bored. Then he tells me about all the cars he owns, and how rich he is, and all these things... So, at a certain point, he says, "So what do you do?" Then I take out this very strange hammer we have in the Danish building business, and I say, "I kill." And then I kill him. It is as stupid as it sounds.
There's always a crisis somewhere, and you get the satisfaction of solving the problem. And then, there's always the mystery of whether a program will work or not, and waiting for the reviews or seeing what the audience figures are.
Thanks to the critics and thanks to the Emmys, we got all sorts of great reviews and notices and awards, at the start. Part of it is that it's great fortune to have something to live up to, but as creative people, we all have to just put that aside and go forward, make the best product we can, have as joyous of an experience as we can, and really remember that the spirit of this was to surprise the fans with something that they didn't see coming.
I remember one review of The Office Christmas Special that compared it unfavourably to Dickens. What? You're saying I'm not as good as the greatest storyteller ever. Boo! Boo! I think I can live with that.
Groucho Marx, in his later days, gave me the best review I've ever had and probably will ever have. I changed a light bulb over his bed, and when I came off of his bed with the used one after putting the new one in, Groucho said, 'That's the best acting I've ever seen you do.'
In every analysis you need to isolate what the real assets are and you must not forget to examine the franchise to do business, to review the character and competence of the management and to estimate the outcome if the whole business had to be turned into cash.
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