A Quote by Balachandra Menon
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.
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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.
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!
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.
Nashville has a formula, and it works a lot of the time, but it wasn't right for me. They're afraid to step outside the box - even though, with me, my success came because I was outside of the box to begin with.
People can criticise all day long, I think I've proven myself, I think I deliver. And I agree, box office does not mean a movie's good, but I feel like I'm making good movies and I'm delivering in box office.
"In the beginning was the word" and that's the thing about Krishna, saying Krishna, Krishna, Krishna, Krishna, so it's not the word that you're saying, it's the sound: Krishna Krishna Krishna Krishna Krishna Krishna and it's just sounds and it's great.
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.
I'm very pessimistic about that, no matter how hard we may try. The Chinese market is huge, but out of last year's $2 billion box office, $1.8 billion was taken in by foreign movies, and just $200 million by our own movies, no matter how much we have learned of their techniques, or their good practices. The Hollywood movies imported into China are all good movies; does the U.S. make lousy movies? Yes, too many lousy movies, but the imports are good films, so how can they not be box office hits? They're all hits.
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.
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.
There was a time when I was called the wizard of the box-office.
In the future, you won't buy artists' works; you'll buy software that makes original pieces of 'their' works, or that recreates their way of looking at things. You could buy a Shostakovich box, or you could buy a Brahms box. You might want some Shostakovich slow-movement-like music to be generated. So then you use that box.
Maybe one day I could make a film which works at the box-office and the critics also like it.
There's only one barometer for the commercial success of a film and that's the box office. The obsession with box office doesn't annoy me. It's the main part of the business, if you get irritated with the main part then you're in trouble.
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.
The success of Chandni Bar' at the box office was a huge boost at that time of my career.
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