Box Office Quotes

Box Office Quotes by Tyler Perry, Laura Hillenbrand, James Ivory, Shamna Kasim, Olivia Williams, Joan Crawford and many others.

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.
Books on horse racing subjects have never done well, and I am told that publishers had come to think of them as the literary version of box office poison
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.
I had once decided to quit acting when Chattakari’ didn’t do well 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!
When television killed comedy and love stories, the movie makers went in slugging. They offered the downbeat, the degenerate as competition. This seems to me to be a sad campaign for Hollywood to use to combat box office disaster.
Now I wonder who is gonna be president: Tweedle Dumb, or Tweedle Dumber— And who is gonna have the big block buster box office this summer.
Die Hard 2 was okay. It was a little outside the template but it was okay, a hard movie to make technically. Did well at the box office. Successful.
The biggest advantage of OTT is that it is not confined to the box office.
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’ve never been opposed to nudity. I’ve been opposed to nudity for box-office draw.
I always thought there was some place I was going, that there was some success or some achievement or some box-office number that was going to fill the hole. And what I realize is that life is a hole. It’s a process of continually trying to find and reinvent myself.
Where Brock Lesnar would be without Paul Heyman? He would certainly be on top. He would certainly be the number one box office attraction. He would just be doing it without someone who truly understands his persona like I do.
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.
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.
Everyone wants to be liked, so of course you want critical acclaim. After that, box office acclaim isn’t bad. More than anything I think you have to try and make something you’re proud of.
Women perform great in the box office. Audiences want to see lead female characters.
I gauge success in years, not weeks. The weekend box-office approach to book launches is short sighted and encourages crappy books.
I mean, obviously it’s exciting for me to see what ‘The Revenant’ is doing in the box office. That’s very exciting.
AlthoughMockingjay 2′ grew $650 million at the worldwide box office, its domestic performance fell short of our expectations.
I wish, to be honest with you, for African American films that we could get a few more theaters. They only open them in 1500 to 2000 for an opening weekend, and how do you expect us to compete. How can we go to certain box office levels if they don’t give us more theaters?
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.
When a film does well, everyone is usually happy and grateful, but for me, the impression the film leaves upon my mind is created during the process of filming; my memories are not a reflection of criticsreviews and box office figures.
Do not set out to write with your eyes on the box office. It can’t be done.
‘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.
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.
There used to be times when I used to be bothered about box office, director, producer, the actress… If those ticks were marked, I used to say ‘yes‘ to a film. Later on, my focus absolutely changed. Now if a character stays with me for two to three nights, I say ‘yes’ to the film.
I’ve never had a career of that kind of box office power. I’ve always learned the hard way.
I didn’t follow big box office ideas. That eventually led me to witches. It’s led me to find interesting roles.
Digitization has altered the nature of the film industry. Social media, especially, has become a decisive factor in determining a film’s box office success.
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.
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.
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.
You don’t leave behind box office scores or how many dollars changed hands.
Hollywood is designed to check the box office on Monday morning and see: “How’d we do? How much?” It’s another facet of this whole culture of accumulation and consumption. Black people are caught up in it, white people are caught up in it, white actors, black actors, female actresseseverybody‘s caught up in it.
I don’t want to be ‘box-office girl,’ but I don’t want to be ‘that indie girl’ either.
The top two movies at the box office this weekend were ‘High School Musical 3′ and ‘Saw V.’ One movie features gruesome onscreen torture that is difficult to watch and the other is about a guy with a saw.
Films must all have the same structure. All of this to guarantee box office bonanza, which of course it never does, but that’s another discussion entirely.
That’s the way this business works: if your movies do well at the box office, you will be offered more movies. It doesn’t matter if you’re a nice guy or you’re a prick. If your movies do well, there’s a job waiting for you in Hollywood. It’s not any more complicated than that.
Martial arts just normally would not draw me to the box office.
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.
I want a certificate that allows me to make as big a box office as possible.
Prior to ‘Pirates of the Caribbean‘ – the first one in 2003 – I had been essentially known within the confines of Hollywood as box office poison, you know what I’m saying? You know, I basically had built a career on 20 years of failures.
The entire team of ‘Race 3’ is really happy because the film is doing good business at 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.
In Quebec, we’re less inhibited artistically, culturally, politically. We’re less focused on box office and comparing our films to the American films.
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.
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.
The success of Chandni Bar’ at the box office was a huge boost at that time of my career.
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.
Often, in the movie business, they need somebody who will garner box office because they need to pay for the movie. So the people who are in movies that make a lot of money are the people who most often get cast in studio pictures. In my career, I’ve never been a box office name.
With feature films, it’s a one-time judgment once your film is premiered. Reviews, box office, and then you move on to the next project. With TV, you are being rated and judged weekly for an eight-month stretch.
It used to be the case that studio executives like Robert Evans, Darryl Zanuck, and David Selznick would put aside money for what they wanted to be great movies regardless of whether they would perform well with the box office.
A friend of mine rang the box office to collect a ticket I’d reserved for her, and the girl said, ‘Who’s Lesley Manville?’
I don’t care where I sit in terms of hierarchy, box office takings, or any of that stuff.
People will say a movie bombed at the box office but I couldn’t care less.
There are films which are good, but sometimes it doesn’t work at the box office.
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.
Star Wars film is breaking all previous box office records. (Why might we want to revisit those characters, that narrative, those jokes and tropes again, in this way, right now? I wonder what it will turn out to reveal about the economics and politics of this moment.)
Something’s happened in our society which I don’t think is beneficial, and that’s that you see the public being fed box-office news. Newscasts now, every local station – I’ve been traveling around the country a lot, and you see the local news, and they give box-office reports.
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.
I’m more contented and at peace with myself now than I was as a box-office queen. I’m less uptight. I’ve even reached a stage where it doesn’t shatter me if somebody prints something bad about me.
And yes, it is harder to make movies because budgets are getting smaller, and the companies stocks are down. The only good news on the horizon is that box office has been up by something like 23% from last year, which is great for us. It’s still the cheapest form of entertainment.
They thought in terms of: whatever you had that started you at the box office, this was it.
I don’t turn my nose up at anything. If it’s a great part, it’s a great part. I’d love to do a box-office hit.
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.
Virtue has its own reward, but no sale at the box office.
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.
I find that it’s a very odd thing to think of competition when you’re talking about what I still think of as art. I don’t think of competing with actors or filmmakers at all. You do compete, in a way, at the box office, but we’re far enough apart when both films are coming out that I’m not concerned with that either.
I’ve never been driven by box office.
As a rule, Germans shouldn’t do comedy. Their last box office comedy was Nosferatu.
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.
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.
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.
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.
I don’t hate L.A., but I’m nervous about becoming one of those people who has a ferocious interest in how films did at the box office that weekend and, you know, would want to meet for egg-white omelets in the morning.
Many birds and beasts are…as fit to go to Heaven as many human beings – people who talk of their seats there with as much confidence as if they had booked them at a box office.
Women drive box office.
My issue in the past with nudity was that these scenes had been written solely for box office draw.
Sometimes I know a film might not pull the audience to the theatres and have a great collection at the box office. But I need to do these films for creative satisfaction and give something different to the audience.
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.
Books on horse racing subjects have never done well, and I am told that publishers had come to think of them as the literary version of box office poison.
I was born in 1973, so I did not see ‘Alien‘ when it was released theatrically. I saw ‘Alien’ when it was on Home Box Office. I think I was probably 10.
Today it’s not culture; it’s box office.
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.
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.
So how critics will perceive your film or your work, or whether your movie is going to make $100 million at the box office, or whether you are going to be winning any awards – well, you have no control over that.
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.
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.
The box office performance of a film is instrumental in an actor being perceived as saleable.
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.
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 idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only – which is the biggest only – teach you things that see the future. And they’re probably as valuable as any of your successes.
People get distracted by box-office figures and take jobs because they think it will advance their careers.
I hate how box-office failures are blamed on an actress, yet I don’t see a box-office failure blamed on men.
I would never want to do a content-driven film with a box office life of Rs 20 crore.
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.
As an actor you do look for a certain amount of critical acclaim and recognition from your peers and the industry at large. When that recognition comes to you, it’s a special moment that you cherish and you always feel successful despite what the box office says.
At some level, I feel it is nice to know that a film of yours is doing well at the box office and has also got great reviews. That feels like success.
I don’t think much about how my past films have performed at the box office.
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.
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.
I don’t make movies thinking: ‘Oh, this is going to be a huge box-office hit.’
According to me, a film can talk for itself. Like, Aamir Khan does not promote his films on a large scale, but his films work on the box office.
‘I Wanna Hold Your Hand’ and ‘Used Cars’ were absolute failures at the box office. Complete disasters. I learned some sad news: it’s not an automatic thing that, if you make a good movie, everyone wants to see it.
At the end of it, box office result matters. And the weird thing is that we do not know the formula of that.
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.
Box office success definitely matters. I will be lying if say it does not matter.
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.
Actors are greedy. They can never be satisfied. I want praise as well as box office returns.
Any film, whether it worked at the box office or not, I’ll have my favourite moments from 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 think the fun of following the movie box office and stocks is very similar to the fun of sports – all three combine passion and unpredictability.
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.
Even though L.A Confidential box-office was a fraction of, say, Titanic or the Grinch movie, it finds its audience and will continue doing so for who knows how long, because of the basic thing we love about movies, which is storytelling and performances.
If you ask my opinion, I don’t look at a film according to its box office collection.
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.
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.
The box office in an arthouse film is always going to be small. We have to face this and overcome this.
Box office success is pertinent but the story has to have a life beyond the two hours.
There are short parts that I as an actor am very right for. Or I just like the part. Or you need someone like me for the movie. By that I don’t mean at the box office, I mean in the execution of the material.
Of course, Hollywood is still making some excellent pictures which reflect the great artistry that made Hollywood famous throughout the world, but these films are exceptions, judging from box office returns and press reviews.
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.
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.
It’s so disappointing to put in your best, hard work and then find the film flopping at the box office for no fault of yours.
When you have box-office results, Hollywood treats you different. Hollywood stands up. Once you get to the point where Hollywood sees that you create results, then the demand for you becomes higher.
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.
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.
I’ve never had a career of that kind of box office power. I’ve always learned the hard way
I want to do exactly what I want to do. I’d rather gamble on the box office than beg for a grant.
‘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.
To be quite honest, numbers don’t tell you everything because audience reactions differ. Some of the biggest films at the box office are not necessarily films that everyone has loved, they just opened to a good response.
‘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 think everybody involved in a movie thinks about the box office. It’s the ‘biz’ part of showbiz.
You do need these people to go out on a limb for you, thinking you’re right for a role rather than having box office numbers.
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.
The box office is a black money laundry shop. No business is straight.
I have learnt to deal with the box office result. Whatever happened to any film, thankfully, people always appreciated my performance.
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.
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.
I knew ‘Hate Story’ would work. I had expected a great opening but the fact that it has completed 50 days at the box office is an overwhelming feeling.
If I want to be a leading man in a film, box office numbers count because producers have invested money. I see no wrong in that process.
Over the years, with all the experience, I’ve become more mature about the subjects I pick. I have a better understanding of what works at the box office. Once the story is finalised, I surrender to the director and follow him. After that, my performances speak for themselves.
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.
You have to have box office success because only then will people show interest in you.
France can compete with the Hollywood studios in terms of animation savoir-faire, but not in terms of box-office figures. France is a small country, and the Americans are the masters of the world – for cinema, it’s true.
The box office has become global. I think that factors in to the question of how to portray different ethnicities and cultures.
I’m sure at one point I will do some acting again, but it would have to be the right thing. I’m not going to do it just because people are offering it to me. Not for those box-office, bullshit, money, noncreative people. But I’ll do it when it’s right to do it.
Unhappy marriages are big box office.
Basically I was a theatre fanatic. I had a job with Home Box Office as a theatre consultant for a long time.