Here, we’ve compiled a list of the best Box Office Quotes from famous authors such as Rutina Wesley, Barry Humphries, Suman Ranganathan, Rakshit Shetty, Holly Hunter. Let’s look at these pieces of wisdom. We definitely have something to learn from them!
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.
I have got to the point in my life when a lot of people I know have died or are dying, so I realise that somewhere outside the pearly gates is a queue, shuffling nearer and nearer to the celestial box office.
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.
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.
I’ve never had a career of that kind of box office power. I’ve always learned the hard way.
Belushi was one of my very first heroes. At a time when film, television, and music were undergoing tectonic shifts within American culture, he was at the center of it all. At that moment, he had the number one show on television, the number one film at the box office, and the number one record on the charts.
A friend of mine rang the box office to collect a ticket I’d reserved for her, and the girl said, ‘Who’s Lesley Manville?’
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.
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.
For a broad, star-powered picture like ‘The Interview,’ a big-tent release in 2,000 to 3,000 theaters is the top choice for a movie studio like Sony Pictures. It’s the difference between a $1 million and a $10 million box office total.
I win my awards at the box office.
People are willing to pay for the right to cheer or boo Roman Reigns. That is your job as a box office attraction. Your job and the manner in which you feed your family is not dependent upon whether the audience respects you or disrespects you. It’s dependent on the audience’s willingness to pay to see you.
It is true that no matter how good your film is, you get judged purely on the basis of how well it does at the box office.
When I was young I didn’t care about education, just money and box office.
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.
Books on horse racing subjects have never done well, and I am told that publishers had come to think of them as the literary version of box office poison.
Women drive box office.
My issue in the past with nudity was that these scenes had been written solely for box office draw.
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.
I don’t think much about how my past films have performed at the box office.
I mean, obviously it’s exciting for me to see what ‘The Revenant’ is doing in the box office. That’s very exciting.
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.
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.
In 1923 I was the No. 1 box office star. A year later it was Rin Tin Tin.
I’m not afraid of a big studio film; I trust my instincts. But for me, it’s not really about box office. It’s about looking back on your work and not having to apologize for it.
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.
In Quebec, we’re less inhibited artistically, culturally, politically. We’re less focused on box office and comparing our films to the American films.
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.
When I want to support a film starring actors I like, I purchase several tickets at the box office – even if I can’t stay for the movie.
Failure at the box office of some of my earlier films led to a lack of opportunity to play main lead in good films.
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.
Unhappy marriages are big box office.
The box office has become global. I think that factors in to the question of how to portray different ethnicities and cultures.
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.
Box office success is pertinent but the story has to have a life beyond the two hours.
It’s a hugely popular franchise, and every ‘Housefull’ film has worked well at the box office.
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.
Film is not just about the art form but also how it fares at the box office.
It’s funny because I remember when I came to the U.S. with ‘Swimming Pool,’ the movie did well, and it was great box office for a French movie, but I remember I was a bit upset because all people talked to me about was the nudity.
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.
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 really don’t consider myself to be a conventional Hollywood star. I’ve never really been marketed by the big studios to do mass market box office films.
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.
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.
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.
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 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 think everybody involved in a movie thinks about the box office. It’s the ‘biz’ part of showbiz.
There used to be times when I used to be bothered about box office, director, producer, the actress… If those ticks were marked, I used to say ‘yes’ to a film. Later on, my focus absolutely changed. Now if a character stays with me for two to three nights, I say ‘yes’ to the film.
If I could, I want to take a page from the George Clooney-like actors of the world. They do things that are relevant, things that don’t necessarily have huge box office appeal, but they matter.
When ‘Ujda Chaman’ didn’t do well at the box office, I felt bad, but didn’t lose heart. Those who watched it on OTT, said nice things about my performance. It made me realise the importance of staying patient.
For women, it is difficult because things are very male testosterone driven. Box office numbers are important and male stars tend to get them.
I don’t care where I sit in terms of hierarchy, box office takings, or any of that stuff.
I think the fun of following the movie box office and stocks is very similar to the fun of sports – all three combine passion and unpredictability.
Anything about Iraq is a death sentence at the box office… You can’t make movies about an unpopular war while the war is still going on – people don’t want to pay to get depressed, though they sometimes will go to movies to get educated.
They thought in terms of: whatever you had that started you at the box office, this was it.
The box office in an arthouse film is always going to be small. We have to face this and overcome this.
Something like ‘Without a Paddle’ does really well at the box office and I’m like, ‘Oh, here we go.’ In ‘Without a Paddle’ I’m the romantic lead – great! A comedy and that’s what America wants. Then it did nothing for me and I went into kind-of a work abyss. I just didn’t get another shot.
Very difficult to understand American audience, what they like, what they don’t like. Some movie I like very much, it doesn’t work. Some movie I don’t like, it gets big box office. Very difficult.
I think no one really knows for sure what will work at the box office. Even big production houses don’t know what will do well and what won’t.
With feature films, it’s a one-time judgment once your film is premiered. Reviews, box office, and then you move on to the next project. With TV, you are being rated and judged weekly for an eight-month stretch.
‘Srimanthudu’ is a film very close to my heart. It’s my first production, and I’m more than happy with its performance at the box office.
To make money, it may be important to win the Academy Award, for it might mean another ten million dollars at the box office.
You don’t leave behind box office scores or how many dollars changed hands.
I wish, to be honest with you, for African American films that we could get a few more theaters. They only open them in 1500 to 2000 for an opening weekend, and how do you expect us to compete. How can we go to certain box office levels if they don’t give us more theaters?
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.
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.
The records – what little we know about Shakespeare, including the records of the plays in his playhouse – were often the story of how quickly they came off if they didn’t work. They had to move on. They were absolutely led by box office.
Amateur wrestling was never considered a big box office draw because they’re really competing but they’re not getting a chance to call each other 16 kinds of names before the fight to get you interested.
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.
My first film was a big dud at the box office, and my second film did decently. I used to wonder how it would feel to have a hit film. I thought I’d be larger than life, but I’m not feeling anything I imagined. It’s a completely different experience.
I’ve never been someone who’s been given work because of the way I look or because I have some box office appeal. I get work because people know I’m swinging as hard as I can, trying to connect, giving it my level best. I have a face for radio, but here I am doing what I do.
Hollywood is not known as a culture of grace. Dog-eat-dog is more like it. People love you one day and hate you the next. Personal value is very much attached to box office revenues and the unpredictable and often cruel winds of fashion.
The success of Chandni Bar’ at the box office was a huge boost at that time of my career.
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.
If my films did better at the box office in Japan, it would be easier to get them made.
At the end of it, box office result matters. And the weird thing is that we do not know the formula of that.
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.
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.
Martial arts just normally would not draw me to the box office.
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.
It’s not necessary that every film has to hit Rs 100 crore box office, or the Rs 50 crore budget. If the film makes double of its project budget, we consider that a hit, and that also means that the film is in profit.
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.
Films of stars as well non stars are working at the box office. People look out for content driven films.
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.
The box office is a black money laundry shop. No business is straight.
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.
I don’t think a film has ever worked at the box office because of a star.
Prior to ‘Pirates of the Caribbean’ – the first one in 2003 – I had been essentially known within the confines of Hollywood as box office poison, you know what I’m saying? You know, I basically had built a career on 20 years of failures.
I didn’t follow big box office ideas. That eventually led me to witches. It’s led me to find interesting roles.
You never know what clicks at the box office. It’s very unpredictable.
The entire team of ‘Race 3’ is really happy because the film is doing good business at the box office.
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.
When it’s the same team that’s created magic at the box office in the past, you know you are in safe hands.
Then if your movie clicks with real audiences, you’ll be sucked into some sort of Hollywood orbit. It’s a devil of a place where the only religion that really counts is box office.
I want to do exactly what I want to do. I’d rather gamble on the box office than beg for a grant.
I would never want to do a content-driven film with a box office life of Rs 20 crore.
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.
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 reckon this could mean another 10 million at the box office.
Where Brock Lesnar would be without Paul Heyman? He would certainly be on top. He would certainly be the number one box office attraction. He would just be doing it without someone who truly understands his persona like I do.
If you ask my opinion, I don’t look at a film according to its box office collection.
I don’t hate L.A., but I’m nervous about becoming one of those people who has a ferocious interest in how films did at the box office that weekend and, you know, would want to meet for egg-white omelets in the morning.
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 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.
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.
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 believe in my privacy. I always have, and I always will. I don’t think that my private life needs to be on display for me to get a better response at the box office or for me to get a better choice of movies.
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.
We shot many films in Delhi that turned out to be successful at the box office. So the attachment is definitely on the positive side.
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.
That’s the way this business works: if your movies do well at the box office, you will be offered more movies. It doesn’t matter if you’re a nice guy or you’re a prick. If your movies do well, there’s a job waiting for you in Hollywood. It’s not any more complicated than that.
Whenever we actors become part of a Bollywood film, there is a certain pressure of earning a box office success.
I would rather make a bad film which does well at the box office than a good film which does badly.
I am not a fool. I know where I stand in terms of box office returns.
I was the first wrestler ever in the history of wrestling to star in a major motion studio picture that became #1 box office of the weekend, and that gave the itch to I don’t know how many wrestlers.
So how critics will perceive your film or your work, or whether your movie is going to make $100 million at the box office, or whether you are going to be winning any awards – well, you have no control over that.
‘Haraamkhor’ is a low budget film. We are not worried about the box office because our film is already in profit. It’s got a strong content that will reach people’s heart.
At the end of the day, successful box office just means that more people saw what you did and liked it, and that to me is the most important thing. That a lot of people saw it and liked it.
The biggest advantage of OTT is that it is not confined to the box office.
Today it’s not culture; it’s box office.
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.
As far as a Latin explosion, I’m sorry, I’m the only Latino who’s going to say it, but there is no Latin explosion. I’m sorry. Four or five top box office people do not make it an explosion, and it’s disgusting to me that people will perceive it that way.
Just because there are celebrities in a movie, it doesn’t mean anything. I don’t think The Ant Bully did all that well the first week at the box office. Compare the movies that have a lot of celebrities with the Jimmy Neutron movie, which had no celebrity voices and grossed almost one hundred million dollars.
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.
I have learnt to deal with the box office result. Whatever happened to any film, thankfully, people always appreciated my performance.
Virtue has its own reward, but no sale at the box office.
There are films which are good, but sometimes it doesn’t work at the box office.
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only – which is the biggest only – teach you things that see the future. And they’re probably as valuable as any of your successes.
People will say a movie bombed at the box office but I couldn’t care less.
You can’t do anything about a film’s fate at the box office.
Usually, people that I like to work with are people that I believe in more than they believe in themselves, and they just need that extra boost and the person to give them a little more time and understanding and introspection into their own character to find that box office that lives inside of them.
Box office is one of the strongest tools we have toward preserving our ability to make our movies. We really can make a difference by purchasing a ticket each opening weekend to a movie made by a woman, even if you don’t like the movie or the filmmaker and even if you don’t see the film.
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.
Just in the past few years – since I’ve been making movies, which isn’t a very long time – you now have a culture that is fascinated and informed about the box office in a way that sometimes filmmakers weren’t even.