You don’t leave behind box office scores or how many dollars changed hands.
I don’t really think about the box office, but I want my films to do well.
I don’t think that ‘Just Mohabbat’ or ‘Tarzan’ were a hindrance. ‘Tarzan’ didn’t do well at the box office but I would say the kids loved it.
Every movie I do, regardless of how they fare at the box office, excites me.
I think the success of a film is very important to an actor. It depends on how many people go to watch your movies; the more the merrier. Nobody wants to do a film for five people. You work so hard that millions of people watch the movie; this is directly related to box office success.
OTT platforms have taken away the pressure that would plague films earlier… the pressure of box office, the number of screens it will be played in, what kind of stars it has or even the pressure of censorship… This is a really big deal.
Martial arts just normally would not draw me to the box office.
‘Election’ made zero money at the box office, but it started my career.
The biggest advantage of OTT is that it is not confined to the box office.
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.
I’m gonna see ‘Mission Impossible’ Part 9 because I like Tom Cruise movies! But just because the box office has that one receipt from the ticket I purchased, doesn’t mean it represents someone who liked it.
I’ve never been someone who’s been given work because of the way I look or because I have some box office appeal. I get work because people know I’m swinging as hard as I can, trying to connect, giving it my level best. I have a face for radio, but here I am doing what I do.
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.
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.
The box office has become global. I think that factors in to the question of how to portray different ethnicities and cultures.
Hollywood is not known as a culture of grace. Dog-eat-dog is more like it. People love you one day and hate you the next. Personal value is very much attached to box office revenues and the unpredictable and often cruel winds of fashion.
Usually, people that I like to work with are people that I believe in more than they believe in themselves, and they just need that extra boost and the person to give them a little more time and understanding and introspection into their own character to find that box office that lives inside of them.
‘Srimanthudu’ is a film very close to my heart. It’s my first production, and I’m more than happy with its performance at the box office.
When I want to support a film starring actors I like, I purchase several tickets at the box office – even if I can’t stay for the movie.
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.
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.
Amateur wrestling was never considered a big box office draw because they’re really competing but they’re not getting a chance to call each other 16 kinds of names before the fight to get you interested.
I really don’t consider myself to be a conventional Hollywood star. I’ve never really been marketed by the big studios to do mass market box office films.
I’ve made some stupid decisions, so I have to be careful. I once said ‘no’ to a film that was a number-one hit. And ‘Date Movie’ had the smallest budget of any movie I’d been in, and it went to the top of the box office.
If my films did better at the box office in Japan, it would be easier to get them made.
It’s funny because I remember when I came to the U.S. with ‘Swimming Pool,’ the movie did well, and it was great box office for a French movie, but I remember I was a bit upset because all people talked to me about was the nudity.
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.
Failure at the box office of some of my earlier films led to a lack of opportunity to play main lead in good films.
Success has nothing to do with box office as far as I’m concerned. Success has to do with achieving your goals, your internal goals, and growing as a person. It would have been nice to have been connected with a couple more box office hits, but in the long run, I don’t think it makes you happier.
Anyone can see that, say, superheroes and vampires perform well at the box office. That in turn can trigger competitive bidding situations and soaring fees for people who can bring these properties to the screen. The result can be a dramatic increase in the costs of production.
I’ll be working the rest of my life because I’m a character actor and don’t have to worry about box office.
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.
Anything about Iraq is a death sentence at the box office… You can’t make movies about an unpopular war while the war is still going on – people don’t want to pay to get depressed, though they sometimes will go to movies to get educated.
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.
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.
Actors are greedy. They can never be satisfied. I want praise as well as box office returns.
Just in the past few years – since I’ve been making movies, which isn’t a very long time – you now have a culture that is fascinated and informed about the box office in a way that sometimes filmmakers weren’t even.
I guess in the independent market, I’d be getting offers, but in terms of big studio films, I still have to audition. I don’t think my name is that well-known, I don’t have much of a following to guarantee box office success yet.
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.
Whenever we actors become part of a Bollywood film, there is a certain pressure of earning a box office success.
Of course it’s difficult to top a box office success like Emmanuelle, so it will always be my most important work. But that’s nothing to be ashamed of.
On average, the higher the novelty score a film had, the better it did at the box office. But only up to a point. Push past that novelty threshold, and there’s a precipice; the revenue earned by a film fell off a cliff.
My degree was in theater administration. So I can sell the hell out of a ticket at the box office.
Right after ‘The Wackness’ came out, it was a really exciting time, and then it was a bit disappointing when it came out. Even though not that many people saw it, I was still getting offered some movies. I was thinking that people would just stop calling me since it didn’t do very well at the box office.
Women were real box office stars in the ’40s, more so than men. People loved to see women’s films. I think it was better then, except for the studio system.
The film is not a success until it makes money. It’s only good when there’s a dollar figure attached to the box office.
I mean, obviously it’s exciting for me to see what ‘The Revenant’ is doing in the box office. That’s very exciting.
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.
Something like ‘Without a Paddle’ does really well at the box office and I’m like, ‘Oh, here we go.’ In ‘Without a Paddle’ I’m the romantic lead – great! A comedy and that’s what America wants. Then it did nothing for me and I went into kind-of a work abyss. I just didn’t get another shot.
Box office is one of the strongest tools we have toward preserving our ability to make our movies. We really can make a difference by purchasing a ticket each opening weekend to a movie made by a woman, even if you don’t like the movie or the filmmaker and even if you don’t see the film.
In Quebec, we’re less inhibited artistically, culturally, politically. We’re less focused on box office and comparing our films to the American films.
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.
As an actor, I feel, I should not choose a film just to help get great box office results but one that challenges me as an actor and gives me the pleasure of playing a certain role.
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