A Quote by Tom Hanks
The truth is that everyone pays attention to who's number one at the box office. And none of it matters, because the only thing that really exists is the connection the audience has with a movie.
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I start at square one with every role. If I let myself feel pressure, it would crush me. The truth is that everyone pays attention to who's number one at the box office. And none of it matters, because the only thing that really exists is the connection the audience has with a movie. Sometimes that's a palpable thing, but other times it's not. No actor has control of that. All you can control is your own passion for doing the work in the first place.
Even though L.A Confidential box-office was a fraction of, say, Titanic or the Grinch movie, it finds its audience and will continue doing so for who knows how long, because of the basic thing we love about movies, which is storytelling and performances.
In Arthurian battle the trick for us was to figure out how to give it the scale that the movie deserved and fitted in a financial box that was necessary. We made the battle quite a bit bigger than originally intended, just because we felt that being part of the opening sequence of the movie we really needed to grab the audience's attention.
A good novelist pays attention to his characters. A good biographer pays attention to the documents before her. A good critic pays close attention to the thing she's brought to evaluate.
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 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!
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.
Sometimes you have to see the thing to know that it exists. Maybe there's a queer person in a town, but they don't feel comfortable or safe coming out, frankly, and the only representation they feel that they have or connection they have is on television or in a movie, and that's really powerful.
I've made some stupid decisions, so I have to be careful. I once said 'no' to a film that was a number-one hit. And 'Date Movie' had the smallest budget of any movie I'd been in, and it went to the top of the box office.
For me, work is worship, and it is not just the number of movies I make but the quality which matters most, irrespective of how they eventually fare at the box office.
The audience only pays attention as long as you know where you are going.
I was a little disappointed with the box-office performance of 'Dharala Prabhu,' because the theatres were shut down just three days after the movie was released. It had good scope to attract family audience and youngsters.
At the end of it, box office result matters. And the weird thing is that we do not know the formula of that.
'I Wanna Hold Your Hand' and 'Used Cars' were absolute failures at the box office. Complete disasters. I learned some sad news: it's not an automatic thing that, if you make a good movie, everyone wants to see it.
To be quite honest, numbers don't tell you everything because audience reactions differ. Some of the biggest films at the box office are not necessarily films that everyone has loved, they just opened to a good response.
The only thing that really matters in the initial part of my career, the worst mistake I've ever made was try to do things to please the audience thinking how the audience is going to respond if I do this.
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