A Quote by Suman Ranganathan
It's so disappointing to put in your best, hard work and then find the film flopping at the box office for no fault of yours.
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The post office doesn't guarantee delivery, but it tries really hard. It's called best efforts communication. If you put two postcards in the post-box, they don't necessarily come out then in the same order that you put them in. So, that means that there's potentially disorder with your delivery, and that's also true in the Internet.
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.
It's disappointing when you put in hard work in a film and it doesn't work.
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.
You can work really hard on your physicality, on your craft, on the films you do. You can choose the best of directors, the best of productions, get the best technicians, you can put your entire body and soul into the making of a film, but at the end of the day, it all depends on the mood of that one audience member that goes into that theater.
In the U.S. box-office driven industry, if you want to do a smaller personal film, you have to find your own financing.
I think the success of a film is very important to an actor. It depends on how many people go to watch your movies; the more the merrier. Nobody wants to do a film for five people. You work so hard that millions of people watch the movie; this is directly related to box office success.
They are born, put in a box; they go home to live in a box; they study by ticking boxes; they go to what is called "work" in a box, where they sit in their cubicle box; they drive to the grocery store in a box to buy food in a box; they talk about thinking "outside the box"; and when they die they are put in a box.
Composing is to think. It is to have your mind trying to find what is the best sound that the movie is going for: the best melody, the best texture, the best structure and dramaturgic arc for the film. Then you discuss that with the director. He's the leader. He's the one showing you the path to follow to find the soul of the film.
There's a reason why you attach the luck factor to your hard work. You work hard in every film, but there's always that one film that comes at the right time and does the best for you.
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.
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.
Now both my films have been number one at the Australian box office and it took about two years just to get the finance for this film, so if it's hard for me then God help everyone else.
Research the leaders in fields related to yours, synthesize their findings, and see how you can apply their hard-won wisdom to your work. Stand on their shoulders, and then make a leap into new territory that is distinctly yours.
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.
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.
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