A Quote by Hannah Fry

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.
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.
There are three things which the public will always clamour for, sooner or later; namely: novelty, novelty, novelty.
There are three things which the public will always clamor for, sooner or later: namely, novelty, novelty, novelty.
It bothers me that the average fan, the average sportswriter for that matter, pays so much attention to what's in a box score. A box score does not properly represent the most important thing - team play. It shows some guy scoring 27 points, but it doesn't show that my 27-point man let his guy score 30.
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.
What eventually counts is whether your film was successful at the box-office or not, or more so if the film has made its money, and 'Race 3' did that.
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.
Avoid the profane novelty of words, St. Paul says (I Timothy 6:20) ... For if novelty is to be avoided, antiquity is to be held tight to; and if novelty is profane, antiquity is sacred.
Does film music really matter to the average moviegoer? A great score, after all, can't save a bad film, and a bad score - so it's said - can't sink a good one.
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.
As a rule, I think people in L.A. are interested in any writer who brings a different skill set and experiences. There's an attraction to novelty and to anyone whose writing isn't based in screenwriting. I had that novelty.
I directed 'Death in the Gunj' which released in 2017. It got very good reviews and a few awards but did not do well at the box-office. But I'm not bothered. I made the film that I wanted to make. It was not a film for everyone.
I only made one film with a score, and I hate it. I hate the score of that film. It's not coming from me. I had nothing to do with it.
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.
Turns out that people who try new things, go new places, learn new skills, etc. are happier. This can be tough, because novelty and challenge also bring frustration and irritation - but if you can push through that, novelty and challenge can bring enormous happiness rewards.
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.
This site uses cookies to ensure you get the best experience. More info...
Got it!