Box Office Quotes

To the extent that movies get released, they are generally not big box-office generators. Hollywood is clearly focusing on their holiday releases coming up and those will either make or break the year.

I don't make movies thinking: 'Oh, this is going to be a huge box-office hit.'

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'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.

Cancer has pizzazz, box office and glamour, and in actual dollars and prestige, even heart and mental can't hold a candle to it. It's a health dodge with a future and everybody who's anybody is jumping in.

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.

It was fun to play that surreal high school life [in Jawbreaker]. I was a huge fan of the movie Heathers. But I think at the time - you know, when the movie was released, it was a very limited release, and it didn't do very well at the box office. And I love the fact that it has found legs and that the audience has kept growing and growing over the years.

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.

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 positive thing is that today we can realize that a Mexican film it is positioned in the top 5 of the box office during more than one month and that Mexicans are taking into consideration that Mexican films can be enjoyed with the family, instead of going to see Transformers and that our films looks like something that are necessary to support.

I find that it's a very odd thing to think of competition when you're talking about what I still think of as art. I don't think of competing with actors or filmmakers at all. You do compete, in a way, at the box office, but we're far enough apart when both films are coming out that I'm not concerned with that either.

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.

Women perform great in the box office. Audiences want to see lead female characters.

I'm very pessimistic about that, no matter how hard we may try. The Chinese market is huge, but out of last year's $2 billion box office, $1.8 billion was taken in by foreign movies, and just $200 million by our own movies, no matter how much we have learned of their techniques, or their good practices. The Hollywood movies imported into China are all good movies; does the U.S. make lousy movies? Yes, too many lousy movies, but the imports are good films, so how can they not be box office hits? They're all hits.

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.

Unnamed entertainment industry moguls are now telling the New York Times that they intend never to work with Mel Gibson again. After all, how dare Mel Gibson challenge the public by producing a film that spurs public discussion, that pushes the envelope, that takes an old story to a new level. How dare Mel Gibson follow his own passion as a filmmaker. How dare he make $20 million on the opening day box office!

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.

I've been able to make some wonderful films, but sometimes you make films with great passion - great belief - and these films slightly don't work at the box office, and they become your favorite films.

I've never been opposed to nudity. I've been opposed to nudity for box-office draw.

My issue in the past with nudity was that these scenes had been written solely for box office draw.

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.

Election' made zero money at the box office, but it started my career.

I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.

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.

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'd love to make a sequel to 'The Rocketeer.' The film didn't do as well at the box office as we all hoped, but it has endured and generated a following.

What counts in Hollywood is box office. It doesn't really matter what people think of you as an actor because, as long as you have been in a movie that has made money, you will always get another job.

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 thing we call critics are not really reviewers, they are not really critics. They don't have the discipline to write what we would term as critique - it's really just reviewers. They have a common man kind of taste. If you watch them overall, they are not different from the box-office. That's my view.

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.

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.

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.

People will say a movie bombed at the box office but I couldn't care less.

I'll be working the rest of my life because I'm a character actor and don't have to worry about 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.

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.

When I was young I didn't care about education, just money and 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.

Don't believe the hype. I don't care how many number ones you have at the box office, I don't care how much they say you're great, don't believe it. Just stay in your lane and do what you're supposed to 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.

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.

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.

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.

I certainly wouldn't compare the rewards of watching one's children grow and mature with that of money piling up at the box office. Both are pleasant, but to varying degrees. As the old saying goes, you can't take an audience home with you. You can't depend on the loyalty of fans, who, after all is said and done, are just faceless people one seldom sees. And few stars have their fans forever. But a child is forever. That bond and relationship is timeless and doesn't depend on your looks, age or popularity at the moment.

Virtue has its own reward, but no sale at the box office.

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.

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.

I ran spotlight. Swept up. Did box office. Ran the lighting board. But acting was the most fun.

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 populist zeal to seek revenge on those who make a lot of money is targeted almost exclusively at corporations. I haven't heard outcries about Hollywood actors who make millions per film, even when those movies are a bust at the box office and the talent at issue has none. There's no outrage over athletes like New York Yankees third baseman Alex Rodriguez's $33 million salary or Celtic power forward Kevin Garnett's $25 million. Nor should there be. These are exceptionally talented individuals whose teams' owners think they're worth every penny.