Top 1200 Box Office Quotes & Sayings - Page 3
Explore popular Box Office quotes.
Last updated on December 18, 2024.
I have never had the problem of finding a producer for my films. I think I am just lucky because my first film didn't do great box office business.
An actor is known by his choices, not by his box-office figures.
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.
It's about balance. Do a movie that's good for your career, then do a one that gets good box office.
I don't think it is about talent or looks, it is primarily about box office success.
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.
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.
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.
...a box where she was expected to be sweet and sensitive (but not oversensitive); a box for young and pretty girls who were not as bright or powerful as their boyfriends. A box for people who were not forces to be reckoned with.
What I think of as a mistake might be something that does really well at the box office, so I'm my own harshest critic - as we all are, really.
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.
If I want to be a leading man in a film, box office numbers count because producers have invested money. I see no wrong in that process.
Basically I was a theatre fanatic. I had a job with Home Box Office as a theatre consultant for a long time.
'The Room' came out in 2003, really to crickets. Nobody showed up to see it. It made $1800 at the box office. Everyone assumed it was going to disappear.
Though a fine writer, Scott Spencer will forever be associated with a cheesy, sentimental film starring the vapid box-office draw Brooke Shields.
I don't see myself doing slapstick movies or being a part of them, even if they get the box office ringing. It's not my space; I haven't reached that point.
'Out of the box' corporate thinking helped carry real American innovation out in a box. A pine box.
I believe in one thing, and that is content, because if your content is strong, the film will surely be hit at the box office.
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.
To make money, it may be important to win the Academy Award, for it might mean another ten million dollars at the box office.
The trouble is that in south cinema, after you become successful at the box office, market realities dictate your choice of films, and it becomes difficult to experiment.
People just try to put you in a box and I don't see myself in any particular box. I'm making my own box. There's no way I would be able to make the music I'm making without dancing.
Films must all have the same structure. All of this to guarantee box office bonanza, which of course it never does, but that's another discussion entirely.
It's not simply that British films do well at the box office and generate revenue, it's that they provide a window to the world of what Britain and its culture is about.
American presidents get to make lots of choices, with one critical exception: what awaits them in the in-box on top of the desk in the Oval Office.
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.
I knew 'Hate Story' would work. I had expected a great opening but the fact that it has completed 50 days at the box office is an overwhelming feeling.
Whether my film becomes commercially successful or not, only God can tell, or the box-office numbers. So why worry about it and get distracted?
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.
I don't think that 'Just Mohabbat' or 'Tarzan' were a hindrance. 'Tarzan' didn't do well at the box office but I would say the kids loved it.
Hollywood embraced me in the late '80s because there was a good project I was in and it was different. Nowadays, it's about corporate mentality, box office, youth.
As a rule, Germans shouldn't do comedy. Their last box office comedy was Nosferatu.
I ran spotlight. Swept up. Did box office. Ran the lighting board. But acting was the most fun.
I have only an appetite for masochistic truth, and only box-office collection figures interest me.
I want to do exactly what I want to do. I'd rather gamble on the box office than beg for a grant.
Failure at the box office of some of my earlier films led to a lack of opportunity to play main lead in good films.
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.
When newspapers started to publish the box office scores of movies, I was horrified. Those results are totally fake because they never include the promotion budget.
It seems only reasonable that the people have a right to know virtually everything about the personality they are buying each time they put their money through the box office.
The edge is a great place to be. Inside the box is too dark. Outside the box, there's no leverage. But on the edge of the box, you can get things done!
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.
I was born in 1973, so I did not see 'Alien' when it was released theatrically. I saw 'Alien' when it was on Home Box Office. I think I was probably 10.
If the boy and girl walk off into the sunset hand-in-hand in the last scene, it adds 10 million to the box office.
You do need these people to go out on a limb for you, thinking you're right for a role rather than having box office numbers.
For me, more than general box-office collections, what really matters is that I am doing something that I enjoy and love.
Sometimes cats just avoid using a litter box but that [cat going poop outside the litter box but pees inside the litter box] is kind of strange. Most time people ask me why they go outside the litter box period.
I mean, obviously it's exciting for me to see what 'The Revenant' is doing in the box office. That's very exciting.
I was, it was very high. Especially with international (box office), we did something that I didn't think this movie ["2012"] would do. I was very happy.
The standard entertainment industry reaction to Hollywood's box office slump reveals the same shallow, materialistic mindset that helped create the problem in the first place.
See, one of the interesting things in the Oval Office - I love to bring people into the Oval Office - right around the corner from here - and say, this is where I office, but I want you to know the office is always bigger than the person.
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.
As a professional athlete, there aren't too many things as gratifying as being on the front of a box. Whether it be a cereal box or a game box. It's very gratifying.
If the film succeeds at the box office it is a commercial film. Otherwise it isn't.
I like more the fact that I like to think out of the box. Thinking out of the box goes along with dressing out of the box and living out of the box.
When people protest and are upset with a movie, it becomes a big hit. They hated Passion of The Christ, it worked out pretty well for the box office. So let's get that going.
Most producers who want you to dance are not looking at the long term. They see their evenings, the box office, whom they have to repay, whatever.
I gauge success in years, not weeks. The weekend box-office approach to book launches is short sighted and encourages crappy books.
As a child working in films was like a hobby but now it has turned into a profession. And with that, it's become a life that's full of pressure and nervousness about Box Office results, competition.
In 1923 I was the No. 1 box office star. A year later it was Rin Tin Tin.
It seems only reasonable that the people have a right to know virtually everything about the personality they are buying each time they put their money through the box office