I didn't follow big box office ideas. That eventually led me to witches. It's led me to find interesting roles.
In Quebec, we're less inhibited artistically, culturally, politically. We're less focused on box office and comparing our films to the American films.
I don't understand what A grade commercial cinema is. If you are talking about box office success, mine are A+ then!
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.
When you're involved in those big-budget movies, there's a lot of hype: 'Oh this is gonna be a big hit!' And 'A Christmas Story' wasn't. It came and went and was a big disappointment at the box office.
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.
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.
L.A. is so much about ratings and box office; that defines everything. And here, of course it's important, but it's not part of the culture - there's too much else going on in New York. They're not going to let one industry monopolize your attention, you know? You're likely to have best friends who are architects or newspaper reporters.
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.
The box office is a black money laundry shop. No business is straight.
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.
