Top 1200 Box Office Success Quotes & Sayings

Something's happened in our society which I don't think is beneficial, and that's that you see the public being fed box-office news. Newscasts now, every local station - I've been traveling around the country a lot, and you see the local news, and they give box-office reports.

A film's success does not depend on box office collection and the number of days it was screened but on the amount of satisfaction an actor can draw from it.

You have to have box office success because only then will people show interest in you.

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.

If a Canadian novel hasn't been a box-office success, say, 'The Republic of Love,' then producers are reluctant to try again.

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.

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 success definitely matters. I will be lying if say it does not matter.

Saroj Kumar is plagued with insecurity about how he can survive in the industry, what with new, better looking actors coming up, and experimental films taking over his once popular box-office success formulas.

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.

I hate how box office failures are blamed on an actress, yet I don’t see a box office failure blamed on men. I think a lot of the time in films, men get roles where they create their own destiny and women are just tools, supporters for that. I guess it’s because we live in a patriarchal society, where feminism is a dirty word.

I hate how box-office failures are blamed on an actress, yet I don't see a box-office failure blamed on men.

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.

Alan Ladd was a marvelous person in his simplicity. In so many ways we were kindred spirits. We both were professionally conceived through Hollywood's search for box office and the types to insure the box office. And we were both little people. Alan wasn't as short as most people believe. It was true that in certain films Alan would climb a small platform or the girl worked in a slit trench. We had no such problems together.

The success of the arts has come through a mix of public subsidy, substantial private support, and good box-office receipts, but central to Labour's post-1997 programme has been a determination to increase access as much as excellence.

I think that the entertainment industry and the entertainment press tends to focus on opening weekend box office as a measure of the success of a film and I think the true success is out there in people's homes and how much they absolutely love these characters.

I guess in the independent market, I'd be getting offers, but in terms of big studio films, I still have to audition. I don't think my name is that well-known, I don't have much of a following to guarantee box office success yet.

The success of a film at the box office will ensure happiness to the entire unit, but individual awards are like vitamin shots that will help boost the morale of an actor.

I always thought there was some place I was going, that there was some success or some achievement or some box-office number that was going to fill the hole. And what I realize is that life is a hole. It's a process of continually trying to find and reinvent myself.

I always assume that nothing that I make is going to be a success, that everything I make is going to be a failure - not a failure but not some huge box- office success. If something is an artistic success, I'll be happy, but I'll maybe be the only person that's happy.

Art is something that grows and breathes and lives, and it shouldn't be predicated on the success of box office - but it is. But within that, you have to give people a chance to find their voice, to play, to continue to create.

We have four boxes with which to defend our freedom: the soap box, the ballot box, the jury box, and the cartridge box.

Box office success is pertinent but the story has to have a life beyond the two hours.

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.

The success of Chandni Bar' at the box office was a huge boost at that time of my career.

Success has nothing to do with box office as far as I'm concerned. Success has to do with achieving your goals, your internal goals, and growing as a person. It would have been nice to have been connected with a couple more box office hits, but in the long run, I don't think it makes you happier.

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.

The film is not a success until it makes money. It's only good when there's a dollar figure attached to the box office.

Whenever we actors become part of a Bollywood film, there is a certain pressure of earning a box office success.

Carmen Jones was the first all-Negro film that became a great box-office success. It established the fact that pictures with Negro artists, pictures dealing with the folklore of Negro life, were commercially feasible. This was a sign of growth that had occurred in the United States and throughout the world.

People can criticise all day long, I think I've proven myself, I think I deliver. And I agree, box office does not mean a movie's good, but I feel like I'm making good movies and I'm delivering in box office.

I gauge success in years, not weeks. The weekend box-office approach to book launches is short sighted and encourages crappy books.

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 think what you have to do is have a box office success in every genre and then you're set for life. And fortunately, I happened to do that, so I get a myriad of offers of various sorts.

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.

Hollywood seduces a person who's used to making theater, art, and having success on their own terms and then tries to squish them into a box and, eventually, throws the box out.

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 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.

I like to think of myself as the Chris Benoit of the movie industry, capable of taking any picture and carrying it to box-office success. Take Garden State, without me that would have just been two hours of Portman doging.

I'm not chasing independence, I'm chasing Walt Disney. I'm looking for a large piece of that box-office pie, not a tiny piece of that box-office pie.

Fortunately for me, I don't come from the school where you only measure success by how much money something makes or whether it has a big box-office weekend. I measure it by how much people actually participate in the process.

While we have a very strong popular culture, the roots of American culture are very shallow, and we put emphasis on how a movie does as far as the box office goes. Many years ago, it would have been vulgar to print box - office grosses in the paper. Now The New York Times does it, and it's the big story for people interested in arts and entertainment on Monday. Which is why emphasis has shifted away from filmmakers and fallen on movie stars and business people.

When I started 'Hudson Hawk,' I realized I was dealing with a strong-willed producer, a strong-willed actor, and, at times, a strong-willed studio, and I was the junior partner in all of this - the guy who hadn't proven anything in terms of box-office success.

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.

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!

I don't judge cinema on its box-office success.

I don't think it is about talent or looks, it is primarily about box office success.

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.

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.

I don't understand what A grade commercial cinema is. If you are talking about box office success, mine are A+ then!

The trouble in corporate America is that too many people with too much power live in a box (their home), then travel the same road every day to another box (their office).

I really believe quality over quantity and 'Mardaani' was really well-received. It got me critical acclaim and box-office success, both.

Of all my movies, I feel that 'Krishna Gopalakrishna' remains one of my best works though it could not be called a box office success. I maintain that it was far ahead of its time.

Of course it's difficult to top a box office success like Emmanuelle, so it will always be my most important work. But that's nothing to be ashamed of.

If you're like me and love chatting about your latest box set addiction, then Sky Box Sets Club has everything you'll need to kick start conversations with friends on Twitter or in the office the next day.

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.

I would never make a film because I think it's going to be a box-office success.

Give a cold shoulder to cold callers. Never invest in anything based on a phone call from someone you don't know or whose office is a post office box.

Content is now the most import factor that decides a film's success at the box office, so we as filmmakers are all trying different stories.

Many actors will try something different once, but if it isn't a box office success they'll never do it again. In my opinion, there's no point in going on with this job if you do the same thing over and over again.