Jenx said:
Boba Frag said:
Would you read his reviews?
You damn right I would! You read some of the nonsense he's written? It's comedy gold!
As for the whole debate started from my opinion - I do agree that to be a good critic you need to be well versed and educated in whatever it is you're criticizing. I just think practical knowledge is a required part of that education.
As for MovieBob specifically, I'm afraid I wasn't quite clear in my wording. I wasn't referring to Bob himself in that, I just referred to him since it's his article I'm replying too. It's kind of a bothersome habit I have when I discuss something with someone.
(But for my money, Bob is as qualified as you need to be - he knows his stuff AND, if that quip at the end of it is true, he has also actually made a few movies so he knows what's it's like down on the battlefield, so to speak.)
Heh, haven't had that pleasure actually.. (Thankfully!)
But I agree, some experience in the field of whatever is being analysed is never a bad thing, but at the end of the day I don't think it's as important as being aware of what you're experiencing when you're watching a film, what response it illicits in you but also why.
It's a subjective thing completely.
That said, I think a lot of film critics make at least some effort to go to a set or chinwag with a director or, if they're really trying, the writers and the crew, not just The Talent.
I was an extra in a small low budget made my amateur film makers, and it was great fun and really informative. Seeing an entire morning's shooting boiled into just 3 minutes is quite the experience.
At the same time, it coloured my viewing of the film. Not negatively, but I think I was less able to enjoy it as a first time experience because I kept waiting for my bits
Yeah, I'm an egotist. But I think everyone is
The same can't be said of books, though. It's like saying only novelists can review novelists.
We'd be out of decent books in a month, I guarantee it, because it's all down to personal tastes, and while a critic has to know what they're talking about, ultimately, he has to be as outside the process as much as the audience is when they sit down in their seat and the house lights go down.