Top 110 Box Office Quotes

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.

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.

Don’t believe the hype. I don’t care how many number ones you have at the box office, I don’t care how much they say you’re great, don’t believe it. Just stay in your lane and do what you’re supposed to do.

So much of the downstream revenue is linked to that initial excitement, to how much revenue is produced in the domestic box office. For example, what we pay for a film three years later is highly correlated to how well it did in the box office.

For a broad, star-powered picture like ‘The Interview,’ a big-tent release in 2,000 to 3,000 theaters is the top choice for a movie studio like Sony Pictures. It’s the difference between a $1 million and a $10 million box office total.

I don’t think a film has ever worked at the box office because of a star.

Box office does matter. One cannot ignore it.

Any film, whether it worked at the box office or not, I’ll have my favourite moments from it.

A tournament pays me to show up because the fans want to see me and I move the needle at the box office? That’s amazing. It’s good for tennis, good for me and good for the event. If a sponsor wants to pay to put their company name on my shirt because they think I’m a strong ambassador for their brand? Heck yes.

I would never want to do a content-driven film with a box office life of Rs 20 crore.

Some filmmakers make films to please themselves and a handful of critics, so they get 5-star reviews but their films don’t run at the box office. I make films for the masses.

I reckon this could mean another 10 million at the box office.

Films of stars as well non stars are working at the box office. People look out for content driven films.

The box office in an arthouse film is always going to be small. We have to face this and overcome this.

I don’t care where I sit in terms of hierarchy, box office takings, or any of that stuff.

The records – what little we know about Shakespeare, including the records of the plays in his playhouse – were often the story of how quickly they came off if they didn’t work. They had to move on. They were absolutely led by box office.

The entire team of ‘Race 3’ is really happy because the film is doing good business at the box office.

Stand-up keeps you on your toes because it’s instant. With TV and movies, you have to wait for the numbers to come in to see what happened at the box office. With stand-up, it’s right there, that night, in your face.

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?

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.

I got to make ‘Trishakti’ with Arshad Warsi, who was a newcomer at that time. The movie took three years to complete and became dated by the time it was released. The movie did not even get a proper release and bombed at the box office. It was a very bad patch of my life and a big disaster for my career.

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.

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 think everybody involved in a movie thinks about the box office. It’s the ‘biz’ part of showbiz.

‘The Room’ came out in 2003, really to crickets. Nobody showed up to see it. It made $1800 at the box office. Everyone assumed it was going to disappear.

I want a certificate that allows me to make as big a box office as possible.

I am not a fool. I know where I stand in terms of box office returns.

It is true that no matter how good your film is, you get judged purely on the basis of how well it does at the box office.

I have no illusions of being the big box office draw. But I would like to have some choices.

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.

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.

Are people like Tom Cruise in touch with their public? I doubt it. Footballers are more like the rock stars of yester-year: they are box office.

Belushi was one of my very first heroes. At a time when film, television, and music were undergoing tectonic shifts within American culture, he was at the center of it all. At that moment, he had the number one show on television, the number one film at the box office, and the number one record on the charts.

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.

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.

We have this sort of tacit censorship, which is the ratings system, and it’s directly tied to box office, so it is censorship. Like, if you make an R-rated movie, you know that only a certain amount of people are going to go see it under any circumstance.

To make money, it may be important to win the Academy Award, for it might mean another ten million dollars at the box office.

The box office isn’t something I consider. If I do, I can’t really work.

Lana Turner was adorable and funny. Jimmy Stewart was such a nice person. I quickly realized that if you’re not a nice person, you’re not going to last in this business. I mean, once your box office starts to drop off, like Veronica Lake, they’ll get rid of you fast.

I don’t think much about how my past films have performed at the box office.

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.

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.

I believe in my privacy. I always have, and I always will. I don’t think that my private life needs to be on display for me to get a better response at the box office or for me to get a better choice of movies.

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.

If you look at who drives the box office numbers at these films, it’s men.

I’d love to make a sequel to ‘The Rocketeer.’ The film didn’t do as well at the box office as we all hoped, but it has endured and generated a following.

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.

It’s a hugely popular franchise, and every ‘Housefull’ film has worked well at the 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.

You know how many movies it took Tom Cruise before he was making 5, 6 million dollars? It probably took a billion dollars in box office.

I’m all about the crossover. The role doesn’t necessarily have to be white or Latina or black. It could be anything. But it’s hard in Hollywood, because sometimes it’s all about the box office. Or all about looks and things like that. It’s not about the story that they have to tell.

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.

‘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.

I am happy that most of my films did good business and either set or broke records at the box office.

I didn’t know box office was a thing you could possess but I don’t have it. I go up for lovely roles and people with this nebulous thing called box office get them so there isn’t much I can do about that unless you know where I can get some box-office myself!

I don’t think it is about talent or looks, it is primarily about box office success.

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.