I am humbled at the fact that I always get great support and reviews from my critics, but it's the film that requires to be good enough for it to work.
I had been with the label since I was 21. The label wanted shiny pop but I didn't. I found a little independent and we've got all these great reviews in England and now it has gone gold.
Since I got a really bad review when I was, like, 28 in 'The New York Times,' I don't read reviews anymore.
When you are one of the best coaches in the world, it is normal to attract bad reviews if you lose a couple of games.
I don't read reviews.
I don't read reviews, and it's not because I don't think I can learn something, I'm sure I could learn a lot. I just that I feel very passionately about the work and especially when you're doing theater, you really only need one director and when you read reviews, you feel like you have twelve, because you respond to them, naturally.
I know that a ridiculous number of classic serials have been commissioned, and that reviews show a reaction against them. The critics seem fed up.
That's what keeps me up at three in the morning: Who's looking at reviews of Cabin Boy right now?
I have connected by phone with customers who have left negative reviews and had a chance to get to know them. Not only was I able to solve their problems, a lot of the customers were so happy with the customer service that they become repeat customers.
I don't really read reviews and comments that much. There just isn't a lot to be gained from it.
