Criticizing your work is not a dish of good taste. To no one, period. Neither for Hollywood stars, nor for mere mortals. However, in many professions they are simply occupational hazards. A chef needs to know what experts and diners think in order to innovate, maintain or change his recipes. In many companies, employees undergo periodic reviews to evaluate and, in any case, improve or congratulate their performance, while the film, television and music industry has experts evaluating and giving their opinion on their work through criticism.
However, there are actors who directly avoid them. What they never read the reviews of their movies protecting himself within an ideal bubble, oblivious to the reactions of the experts. Y Helen Mirren is one of them.
“When I was younger I used to read criticism, but I realized that it was disruptive, both good and bad. the 76-year-old actress told People during a screening of his film The Duke In New York.
“The good ones give you an unrealistic sense of how good you were[inamovie[andthebadonesjustdestroyyousoIdon’treadthereviews”[enunapelícula[ylasmalassimplementetedestruyenasíquenoleolascríticas”sentenced. However, he also added that he recognizes that criticism can give actors “a notion of how his film is received”, what do you think “incredibly important.” But even so, he avoids looking the other way when reviews of his films are published. And that we are talking about an Oscar-winning actress, applauded by the whole world who never leaves us indifferent with her work on her screen.
And it is not the only one. Jennifer Lawrence Y Adam Sandler They don’t read them either. the actress of don’t look up assured to Variety in 2017 that he can’t because he gets defensive when he reads negative reviews.“You put your soul and body, you move in to make a movie and you love it, because obviously you wouldn’t be there if you didn’t love it, and then people destroy it” declared. What’s more, he said that even when they are positive they generate “anxiety”. While Sandler stated in the same medium that he stopped reading them in 1995 when billy madison was destroyed by opinions. Which would explain to critics in general that he keeps doing the same comedies, over and over again.
Jesse Eisenberg (The social network) is another of the actors neither does he read reviews of his films, nor analyzes of them or his plays, as he confessed to Business Insider in 2016. He even wrote a satirical column mocking critics on The New Yorker with a review about a fictional film.
Jared Leto He also doesn’t pay attention to the professional reactions to his films or the comments about them. And although he has been honored and applauded for his work in Dallas Buyers Club either Requiem for a Dream, has also been criticized for his most recent productions, the gucci house Y Morbius. But to him, directly, it slips. “I don’t see the reviews, I don’t read the comments. But I did the best I could.” said to screendaily about his work on the highly-reviewed Ridley Scott film. An overacted performance that requires reflection both from the director for forcing Italian accents that cause creepiness, and from the actor. And it is that although it is noted that Leto put all the meat on the grill, his work stood out for an evident lack of congruence between his personal intention, that of the director and the story.
On the one hand, it is understandable. Nobody likes their work to be criticized, especially when there is so much personal involvement behind it. After all, there are films that do require years of preparation and patience until they get off the ground, with all the expectations that grow in the process, only to be received negatively later. However, it happens to all of us in one way or another at work and everything possible is done to accept it in a constructive way and apply it to improve our work. As much as our ego burns for a while.
But many actors avoid reading what critics think of their work because “they destroy them”, provoke anxiety, make them uncomfortable or, as Helen Mirren says, give them “a sense of unreality”. But, I wonder, isn’t it more unreal to live oblivious to how your work is received?
Than feedback or impressions have then? How do they know what was perceived as good, bad, average or great in order to know which choices were correct, which ones can be improved or simply reflect on it? Because the box office is not a real source of thoughtful reactions to your personal efforts, rather there are many factors that influence whether a movie is financially successful or a resounding failure. This is demonstrated, for example, by the fact that the vast majority of films nominated for an Oscar have not been blockbusters -such as the power of the dog in its brief passage through rooms, West Side Story, Licorice Pizza, coda either parallel mothers, among many more. The quality of a film and the dedication of its actors have no direct and unique relationship with the economic results.
In turn, the feedback of a studio is committed to its own interests, that of a director with his vision and the environment of each artist is dedicated to flattering them as part of their work. Cameron Diaz already said it after his withdrawal, describing the fame of “very childish”. “It’s very much about keeping someone pampered in a state like when we see a little child and think, ‘He’s so pretty, I want him to always be pretty, and if I keep him pretty by always treating him pretty, maybe he’ll stay pretty forever. And that’s how people treat you” he sentenced in a podcast.
In other words, running away from criticism ultimately creates a fictitious ego where their own perception and that of those with interests have their space, distancing them from how it is accepted or not from other territories, realities and visions.
Criticism, in the end, can be a reality check that affects the ego and destroys the protective balloon that surrounds them, but it can help them to know what is perceived as good or bad and why, perhaps reflecting on their own choices, what to improve, build or maintain. As mere mortals do with our professions far from that world called Hollywood.
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Helen Mirren brings to the fore the custom of the stars that only feeds a fictional ego