I would say critically of myself that I am somebody without secrets. Sometimes acting depends on you having a secret. I don't think I've ever had that.
For me, there will be no enemies but unemployment, the deficit, excessive debt, economic stagnation and anything else that keeps our country in these critical circumstances.
For instance, 'The Sixth Sense' had mediocre to bad reviews. Slowly, the audience pushed it and it received critical attention.
All Australians understand that high-quality, reliable and affordable broadband is a critical part of the infrastructure our nation needs to prosper in coming years.
According to one critic, my works looked like scraped billboards. I went to look at the billboards and decided that more billboards should be scraped.
I believe that the trade of critic, in literature, music, and the drama, is the mot degraded of all trades, and that it has no real value--certainly no large value.
Film acting is one of the only industries where you're criticized for working hard. In any other industry, it's considered a quality and something to behold.
There is a misperception, if you will, in critical response or even in Hollywood, that I can only do exaggerated characters. Or what they would call over-the-top performances. Well, this is completely false.
There's plenty to criticize about the mass media, but they are the source of regular information about a wide range of topics. You can't duplicate that on blogs.
There is every likelihood that the Jihadi movement, much of it highly critical of bin Laden, could have been split and undermined after 9/11.
Right after the assassination of Osama bin Laden, amid all the cheers and applause, there were a few critical comments questioning the legality of the act.
As both a local resident and a parent with a CF-afflicted child, I'm thankful for companies like Canon, Chase and Outback who believe that giving back to the community is critical to their role as corporate citizens.
Critics called me 'egregious' - I had to look that one up - and 'creepy', but now I don't read them, I weigh them.
One of the things that strikes me is so many of the critics are people whose lifestyle doesn't change when the price of fuel changes, or if they keep a Wal-Mart store out of their area.
During my military service, I performed a sketch in which I played a flea called Max. So when critics kept misspelling my name, I decided to change it and thought, 'Ah! Max!'
I wouldn't describe that 'position' as 'parasitic.' I'd describe that experience as 'edifying.' I don't merely write from a critical intellectual distance. I actually live around here.
Even though I wanted to experience all these things I was interested in, I couldn't get them. So I had to think critically and culturally about what was available.
The Architect is just one of a series of works which examine the confrontation of innocence and experience, illustrating the complex ethics of power that exist between reader and writer, critic and artist, the human and the divine.
Experience tells us that a good foundation is critical for success in the Arctic and elsewhere. ExxonMobil's Sakhalin-1 project with Rosneft is an example where we have put this experience to work.
Much literary criticism comes from people for whom extreme specialization is a cover for either grave cerebral inadequacy or terminal laziness, the latter being a much cherished aspect of academic freedom.
My family is my biggest critic. Since they come from a non-filmi background, they give me an audience's point of view. They have been very supportive of me.
