A Quote by Milos Forman
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.
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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.
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.
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.
If you're in the writer's room, in any writer's room in the world, before you pitch a joke or suggest an idea, you first think it's funny and decide to say it out loud. The next step is for the people around you to accept it or reject it, before it ever sees the light of day, on film or in front of an audience.
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.
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.
Sometimes I know a film might not pull the audience to the theatres and have a great collection at the box office. But I need to do these films for creative satisfaction and give something different to the audience.
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.
In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience.
Digitization has altered the nature of the film industry. Social media, especially, has become a decisive factor in determining a film's box office success.
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!
At some level, I feel it is nice to know that a film of yours is doing well at the box office and has also got great reviews. That feels like success.
Box office figures are not something that can decide the success of a film on its own, but they are one of the many yardsticks that help me measure how well a film has been received.
I made a very conscious effort to finish 'The Cypress House' before 'So Cold the River' launched, because I thought that would help build a buffer between my writing and any impact that came from either the success or the failure of that first book.
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.
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