A Quote by Bobby Deol

You never know what clicks at the box office. It's very unpredictable. — © Bobby Deol
You never know what clicks at the box office. It's very unpredictable.
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!
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.
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.
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.
Give a cold shoulder to cold callers. Never invest in anything based on a phone call from someone you don't know or whose office is a post office box.
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.
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.
I hate how box-office failures are blamed on an actress, yet I don't see a box-office failure blamed on men.
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.
While we have a very strong popular culture, the roots of American culture are very shallow, and we put emphasis on how a movie does as far as the box office goes. Many years ago, it would have been vulgar to print box - office grosses in the paper. Now The New York Times does it, and it's the big story for people interested in arts and entertainment on Monday. Which is why emphasis has shifted away from filmmakers and fallen on movie stars and business people.
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.
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.
I've never been driven by box office.
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.
I was, it was very high. Especially with international (box office), we did something that I didn't think this movie ["2012"] would do. I was very happy.
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.
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