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At one level, an award is an endorsement, a confirmation, but I always find myself looking askance at awards and good reviews, as though another Garry Disher had earned them.
I'm not much a TV reporter, as in someone who covers the daily machinations of the television industry, though I certainly follow it and weave it into my reviews and essays about the medium.
I don't usually read my reviews. I've noticed older reviewers are much more bothered by the plot complications. Younger reviews don't seem to be bothered by the complications at all.
We have gotten some terrible reviews at times but if we depended on the judgment of the studios or critics, we never would have made more than one movie.
Combined families often get bad reviews, but the family my children got when they traded away 'the suffocating four-person' nuclear one is one that has benefited all of them.
I like drama as well. When I played Hamlet, I got one review that said, "This must surely be the funniest Hamlet in history," but schoolgirls would still cry when he died.
In the very beginning, Yelp started as a service where we really didn't think people would write reviews for fun. The whole concept of user-generated content was pretty nascent in 2004.
I view myself in the narrowest possible terms, but I don't watch anything I've been in, and I don't read reviews or analysis of movies I've been in, or my plays.
If I stop to think about fans, or best-selling, or not best-selling, or good reviews, or not-good reviews, it just becomes too much. It's like staring at the mirror all day.
American travel writing is very healthy. I'm always flicking through the reviews and I see plenty of travel writing - and an impressive line up and continual demand.
I rarely write in my own voice except in book reviews and memoirs; otherwise, I am writing in mediated voices, modulated in terms of the characters whom the voices express.
The books I read I do enjoy, very much; otherwise I wouldn't read them. Most of them are for review, for the New York Review of Books, and substantial.
I remember the review from Michael Wilmington in Chicago, and Gene Siskel wrote really smart reviews where I thought, "Oh, they totally get what we're attempting to do."
I didn't know I was really a writer until I read it in the New York Times. And then I thought, "Oh my god, maybe I can really do this". That was a review of "Margaret."