Quotes of All Topics . Occasions . Authors
I don't see myself doing slapstick movies or being a part of them, even if they get the box office ringing. It's not my space; I haven't reached that point.
A film's success does not depend on box office collection and the number of days it was screened but on the amount of satisfaction an actor can draw from it.
When you tell a film financier that you want to do a Shakespeare film, their face drops. Shakespeare films don't have a very wonderful history at the box office.
Hollywood embraced me in the late '80s because there was a good project I was in and it was different. Nowadays, it's about corporate mentality, box office, youth.
The effort always remains that my new film outdoes my last in terms of performance and gets better box office success. Box office is the sole reason why I do films.
When newspapers started to publish the box office scores of movies, I was horrified. Those results are totally fake because they never include the promotion budget.
For me, work is worship, and it is not just the number of movies I make but the quality which matters most, irrespective of how they eventually fare at the box office.
So, it didn't do well. But now when I talk to kids who are first seeing it, they're surprised to hear the movie failed at the box office. Sometimes that's what happens.
It's not simply that British films do well at the box office and generate revenue, it's that they provide a window to the world of what Britain and its culture is about.
The trouble is that in south cinema, after you become successful at the box office, market realities dictate your choice of films, and it becomes difficult to experiment.
The success of a film at the box office will ensure happiness to the entire unit, but individual awards are like vitamin shots that will help boost the morale of an actor.
'Haraamkhor' is a low budget film. We are not worried about the box office because our film is already in profit. It's got a strong content that will reach people's heart.
When people protest and are upset with a movie, it becomes a big hit. They hated Passion of The Christ, it worked out pretty well for the box office. So let's get that going.
It seems only reasonable that the people have a right to know virtually everything about the personality they are buying each time they put their money through the box office.
The standard entertainment industry reaction to Hollywood's box office slump reveals the same shallow, materialistic mindset that helped create the problem in the first place.
It is funny now, but in the beginning of my career, some of the films failed at the box office, and filmmakers stopped casting me, saying I am bringing bad luck to their film.
I don't really make movies because I want to see my face on a billboard or because I want to get good reviews or have a big box office. That doesn't really matter to me at all.
Before my acting took off, I drove a truck for an inventory company throughout the northeast, but my favorite non-acting job was working in the box office at the Public Theater.
I'm not afraid of a big studio film; I trust my instincts. But for me, it's not really about box office. It's about looking back on your work and not having to apologize for it.
At times I do feel that there is some issue with child actors because in all my films my performance has been appreciated but the films have not created magic at the box office.
I care about the box office, so that's why I go from town to town: because I want people to see it. I would give it for free; I just want those houses full of people watching it.
It's a myth that you'll know the box office result of any film. I don't think anybody can predict a film's fate accurately, otherwise nobody would make unsuccessful or flop films.
Of all my movies, I feel that 'Krishna Gopalakrishna' remains one of my best works though it could not be called a box office success. I maintain that it was far ahead of its time.
Then if your movie clicks with real audiences, you'll be sucked into some sort of Hollywood orbit. It's a devil of a place where the only religion that really counts is box office.
Then that did very well at the box office, so before you knew it, we were in a string of feature motion pictures. Then they announced that they were going to do some spinoffs of us.
I pay a lot of attention to box office because I understand it. TV ratings? I don't know how to interpret them, since I'm new to TV, so I'm just going to wait for somebody to tell me.
I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.
Now both my films have been number one at the Australian box office and it took about two years just to get the finance for this film, so if it's hard for me then God help everyone else.
But the community knew Blade, and everybody but us was shocked at the box office, and subsequently the DVD. That was the beginning of the DVD revolution, and Blade was just like wildfire.
The studio didn't ask them to learn their trade, they just worked them, and when that personality or that gimmick or whatever they had ran dry at the box office, they were dropped and out.
Like any compelling show on television, what works best in WWE is relationships. What's the relationship between these two people, and how does the conflict manifest itself into box office?
At the end of the day, successful box office just means that more people saw what you did and liked it, and that to me is the most important thing. That a lot of people saw it and liked it.
In my career, I've never been a box office name. Granted, a couple of my movies have made a lot of money, but I'd do other movies which make very little money, or they're not seen that much.
Movies, you can insulate yourself more from audience, to a degree, and just look at box office. In theater, the audience is a very dynamic part of your process, and you feel much more exposed.
Personally, the films I love include 'Black Friday,' 'Lage Raho Munna Bhai,' 'Love Sex Aur Dhoka,' and 'Zindagi Na Milege Dobara' because they work at the box office and are complete packages.
I guess I judge my films by how pleased I am with the work I do, so it's kind of on another level. If they do well at the box office, then that's great. Then I'm really pleased about that too.
Box office success has never meant anything. I couldn't get a film made if I paid for it myself. So I'm not 'box office' and never have been, and that's never entered into my kind of mind set.
If I could, I want to take a page from the George Clooney-like actors of the world. They do things that are relevant, things that don't necessarily have huge box office appeal, but they matter.
We want box office success, critical acclaim, awards and everything else. But I think when the audience likes a film, that appreciation is far more fulfilling, far more satisfying than any award.
The truth is that everyone pays attention to who's number one at the box office. And none of it matters, because the only thing that really exists is the connection the audience has with a movie.
What I believe is to keep working. How a film performs at the box office is not in my control: what is in my control is my work, how much honesty I can bring on-screen. I am happy people love me.
Very difficult to understand American audience, what they like, what they don't like. Some movie I like very much, it doesn't work. Some movie I don't like, it gets big box office. Very difficult.
As a child working in films was like a hobby but now it has turned into a profession. And with that, it's become a life that's full of pressure and nervousness about Box Office results, competition.
I was the first wrestler ever in the history of wrestling to star in a major motion studio picture that became #1 box office of the weekend, and that gave the itch to I don't know how many wrestlers.
What counts in Hollywood is box office. It doesn't really matter what people think of you as an actor because, as long as you have been in a movie that has made money, you will always get another job.
I'm really excited that 'The Other Woman' did so well at the box office, and I hope that will keep encouraging people to make movies about women, starring women, about female friendships. More. Please.
When you're involved in those big-budget movies, there's a lot of hype: 'Oh this is gonna be a big hit!' And 'A Christmas Story' wasn't. It came and went and was a big disappointment at the box office.
I've been able to make some wonderful films, but sometimes you make films with great passion - great belief - and these films slightly don't work at the box office, and they become your favorite films.
I don't have any interest in being in Warner Brothers' newest comedy if it's going to suck but still be a box office hit and make me famous. I want to do things that are cool and that I can be proud of.
To what extent a film works is beyond me. My first film 'Aashiq Banaya Aapne' did wonders at the box office. Then 'Chocolate' was also quite popular, but it didn't have the same effect as the first one.