Top 1200 Box Office Quotes & Sayings - Page 5

With the revolution around 1980 of PCs, the spreadsheet programs were tuned for office workers - not to replace office workers, but it respected office workers as being capable of being programmers. So office workers became programmers of spreadsheets. It increased their capabilities.

Anyone can see that, say, superheroes and vampires perform well at the box office. That in turn can trigger competitive bidding situations and soaring fees for people who can bring these properties to the screen. The result can be a dramatic increase in the costs of production.

If I or any other black can deliver at the box office, I'll get a lot of work. Too many young actors, regardless of their color, try to play an attitude on camera and fail to remember their job is to fit into an entertainment.

I directed 'Death in the Gunj' which released in 2017. It got very good reviews and a few awards but did not do well at the box-office. But I'm not bothered. I made the film that I wanted to make. It was not a film for everyone.

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.

When you tell a film financier that you want to do a Shakespeare film, their face drops. Shakespeare films don't have a very wonderful history at the box office.

I don't think you can name a good picture where the production or the possible promotion isn't "cast-contingent." That means the film needs not just star power but star box office power.

The audience that storms the box-office of the theater to gain entrance to a sensational show is small and sleepy compared with the throng that crashes the courthouse door when something concerning real life and death is to be laid bare to the public.

As an actor, I feel, I should not choose a film just to help get great box office results but one that challenges me as an actor and gives me the pleasure of playing a certain role.

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.

Then that did very well at the box office, so before you knew it, we were in a string of feature motion pictures. Then they announced that they were going to do some spinoffs of us.

Die Hard 2 was okay. It was a little outside the template but it was okay, a hard movie to make technically. Did well at the box office. Successful.

Personally, the films I love include 'Black Friday,' 'Lage Raho Munna Bhai,' 'Love Sex Aur Dhoka,' and 'Zindagi Na Milege Dobara' because they work at the box office and are complete packages.

It used to be the case that studio executives like Robert Evans, Darryl Zanuck, and David Selznick would put aside money for what they wanted to be great movies regardless of whether they would perform well with the box office.

Movies, you can insulate yourself more from audience, to a degree, and just look at box office. In theater, the audience is a very dynamic part of your process, and you feel much more exposed.

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.

Of course, Hollywood is still making some excellent pictures which reflect the great artistry that made Hollywood famous throughout the world, but these films are exceptions, judging from box office returns and press reviews.

In my career, I've never been a box office name. Granted, a couple of my movies have made a lot of money, but I'd do other movies which make very little money, or they're not seen that much.

I'm all about the crossover. The role doesn't necessarily have to be white or Latina or black. It could be anything. But it's hard in Hollywood, because sometimes it's all about the box office. Or all about looks and things like that. It's not about the story that they have to tell.

But the community knew Blade, and everybody but us was shocked at the box office, and subsequently the DVD. That was the beginning of the DVD revolution, and Blade was just like wildfire.

According to me, a film can talk for itself. Like, Aamir Khan does not promote his films on a large scale, but his films work on the box office.

OTT platforms have taken away the pressure that would plague films earlier... the pressure of box office, the number of screens it will be played in, what kind of stars it has or even the pressure of censorship... This is a really big deal.

You know how many movies it took Tom Cruise before he was making 5, 6 million dollars? It probably took a billion dollars in box office.

Women were real box office stars in the '40s, more so than men. People loved to see women's films. I think it was better then, except for the studio system.

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.

I would do 'John Carter' again tomorrow. I'm very proud of 'John Carter.' Box office doesn't validate me as a person, or as an actor.

I like 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. If you want to come up with a really original design idea and you want to capture a whole new design direction, perhaps the best way to arrive at that is not by acting and thinking and doing like everybody else. That's all.

I pay a lot of attention to box office because I understand it. TV ratings? I don't know how to interpret them, since I'm new to TV, so I'm just going to wait for somebody to tell me.

As an actor you do look for a certain amount of critical acclaim and recognition from your peers and the industry at large. When that recognition comes to you, it's a special moment that you cherish and you always feel successful despite what the box office says.

To what extent a film works is beyond me. My first film 'Aashiq Banaya Aapne' did wonders at the box office. Then 'Chocolate' was also quite popular, but it didn't have the same effect as the first one.

I'm more contented and at peace with myself now than I was as a box-office queen. I'm less uptight. I've even reached a stage where it doesn't shatter me if somebody prints something bad about me.

Over the years, with all the experience, I've become more mature about the subjects I pick. I have a better understanding of what works at the box office. Once the story is finalised, I surrender to the director and follow him. After that, my performances speak for themselves.

I thought of my father's wisdom, as though it were buried in a box under a tree. As in the old song - a gold box with a silver pin. Some day I should be grown up, and I should dig up the box and turn the pin.

Male actors get into production, share profit, and they don't take money at times but are involved in some capacity which is economical and resourceful. These things suit them; as they have made a place for themselves, they have command over the box office.

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.

Box-office poison? Mr. Louis B. Mayer always asserted that the studio had built Stage 22, Stage 24 and the Irving Thalberg Building, brick by brick, from the income on my pictures.

Jay Carney told the reporters at his morning briefing that he hoped they would watch the new movie about Obama's first term 'many times.' They might. Look how well 'Titanic' did at the box office.

There are short parts that I as an actor am very right for. Or I just like the part. Or you need someone like me for the movie. By that I don't mean at the box office, I mean in the execution of the material.

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.

I guess I judge my films by how pleased I am with the work I do, so it's kind of on another level. If they do well at the box office, then that's great. Then I'm really pleased about that too.

You come to work because the office is a resource: The office is a place where you can meet with other people, and the office has libraries of books and information on CD-ROM that might help you with your work.

I think the message has already been sent to Hollywood, which is that this kid's a hard worker, he's talented, and people are coming out to see him. And when you have box-office results, Hollywood treats you different. Hollywood stands up.

I'd seen how 'Green Book' had been a box-office hit, but left pianist Don Shirley's family feeling betrayed because his life and relationships had been distorted.

When a film does well, everyone is usually happy and grateful, but for me, the impression the film leaves upon my mind is created during the process of filming; my memories are not a reflection of critics' reviews and box office figures.

I'm gonna see 'Mission Impossible' Part 9 because I like Tom Cruise movies! But just because the box office has that one receipt from the ticket I purchased, doesn't mean it represents someone who liked it.

TMOK' is a family film, and everyone would like to watch the film. I'll be very happy even if I get 50 to 65 per cent of the box-office opening that 'Ra.One' gets.

A box-office number is good for a producer and the industry to keep the turnover game on, but as an actor, I give importance to script. I will turn down a script, even if it guarantees Rs. 100 crore, when I'm not convinced with it.

Hollywood's thinking is very typical. And it's just really predictable too. And I think at Hollywood, these box office movies are flopping. I mean, there hasn't been an original thought coming out of Hollywood since the '80s.

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.

The top two movies at the box office this weekend were 'High School Musical 3' and 'Saw V.' One movie features gruesome onscreen torture that is difficult to watch and the other is about a guy with a saw.

Sometimes the difference between two candidates is an important one in the immediate sense, and then I believe trying to get somebody into office, who is a little better, who is less dangerous, is understandable. But never forgetting that no matter who gets into office, the crucial question is not who is in office, but what kind of social movement do you have. Because if you have a powerful social movement, it doesn't matter who is in office.

France can compete with the Hollywood studios in terms of animation savoir-faire, but not in terms of box-office figures. France is a small country, and the Americans are the masters of the world - for cinema, it's true.

Even in the tragedies, Shakespeare always put in parts for the comic actors because his audience was mixed. He puts in people who talk like aristocrats. He puts in idiots and fools. He puts in certain middle-range characters. And when you go to the Globe, you realize how that all works. The people who paid more sat in seats around the edge. Everybody else paid a penny. They put it into a tin box - that's why we call it the "box office." They stood in the pit, but they were very close, so when Hamlet was doing his soliloquy, it was addressed to you, the audience - right there.

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.

Some filmmakers make films to please themselves and a handful of critics, so they get 5-star reviews but their films don't run at the box office. I make films for the masses.

In Quebec, we're less inhibited artistically, culturally, politically. We're less focused on box office and comparing our films to the American films.

There are movies whose feel-good sentiments and slick craft annoy me so deeply that I know they will become box-office successes or top prizewinners. I call this internal mechanism my Built-In Hit Detector.

We have this sort of tacit censorship, which is the ratings system, and it's directly tied to box office, so it is censorship. Like, if you make an R-rated movie, you know that only a certain amount of people are going to go see it under any circumstance.

'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.

What I believe is to keep working. How a film performs at the box office is not in my control: what is in my control is my work, how much honesty I can bring on-screen. I am happy people love me.