A Quote by Kartik Aaryan

I have learnt to deal with the box office result. Whatever happened to any film, thankfully, people always appreciated my performance. — © Kartik Aaryan
I have learnt to deal with the box office result. Whatever happened to any film, thankfully, people always appreciated my performance.
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.
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.
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.
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.
The box office performance of a film is instrumental in an actor being perceived as saleable.
'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 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.
I think I'm a story-based artiste. So I would opt for the performance-oriented role. I usually go by intuition while choosing a script. Also, I do not analyse my performance, nor do I bother about how my film has been performing at the box office. I personally love challenges and am game for taking up things which I haven't attempted before.
A strange thing happens when Spielberg discusses his own work. His degree of self-criticism seems a direct reflection of each film's box-office performance. You will not catch him complaining that the audience 'didn't get' a film; if it didn't do well, it generally didn't deserve to.
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!
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.
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.
I never thought of myself as any kind of a film star, as many films as I've made - and I've made some really fun movies with good people. I've always been paired with someone because I'm not really box office, in that carrying-a-picture sense. I've always been busy, but not in the spotlight.
Any film, whether it worked at the box office or not, I'll have my favourite moments from 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.
The box office in an arthouse film is always going to be small. We have to face this and overcome this.
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