A Quote by Arbaaz Khan

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.
When you finish a film, before the first paying audience sees it, you don't have any idea. You don't know if you made a success or a flop, when it comes to the box office.
You do the work and you want people to see it; but, um while I'm doing the work, the result doesn't matter at all to me. Ultimately, I don't, I don't care whether the film is - you know - some big giant box-office bonanza and I don't care if its a complete flop. To me, when a film gets made and it's actually finished it's a success. They're all a success in their own way.
If the film succeeds at the box office it is a commercial film. Otherwise it isn't.
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.
African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.
Everyone thinks that Fight Club is a very important and successful film, but it was a massive box-office failure. Massive. It was a big flop by any commercial-release standard. And it's been a huge hit on DVD. Everything that movie has become has been on DVD. So you can't stake your sense of creative success on this whole box-office-performance matrix, because if you do, you're going to be disappointed most of the time.
I would never make a film because I think it's going to be a box-office success.
I think the art film, or the auteur-driven film - and not only foreign, but domestic films following that path - can get a small share of the box office. And I think that small share may open up a little bit.
I have learnt to deal with the box office result. Whatever happened to any film, thankfully, people always appreciated my performance.
You can't do anything about a film's fate at the box office.
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.
My first film was a big dud at the box office, and my second film did decently. I used to wonder how it would feel to have a hit film. I thought I'd be larger than life, but I'm not feeling anything I imagined. It's a completely different experience.
I would rather make a bad film which does well at the box office than a good film which does badly.
I would say that no film is apolitical. There are politics in all films. Any film that is anchored in a society, any film that deals with humanity is necessarily political.
To me, the box-office is basically the cost of film. If your film costs so much and your box-office is so much and a bit more, you are okay.
Let me put it this way: I would like to direct a successful film. An unsuccessful film I would not like to direct. Films are very difficult.
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