Zitat des Tages über Theaterkasse / 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 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.
I got to make 'Trishakti' with Arshad Warsi, who was a newcomer at that time. The movie took three years to complete and became dated by the time it was released. The movie did not even get a proper release and bombed at the box office. It was a very bad patch of my life and a big disaster for my career.
I believe that there's good content or bad content. You see interviews when somebody interviews a director of a movie that didn't perform well in the box office, and he says, 'The audience didn't understand my movie.' If people didn't go to buy the ticket, then you did the wrong movie.
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 studio didn't ask them to learn their trade, they just worked them, and when that personality or that gimmick or whatever they had ran dry at the box office, they were dropped and out.
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.
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.
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.
If I give five flops, I won't get a job. You have to perform at the box office when you are at the top. No one is running a charity here. People are putting huge amounts of money to make movies, and they want the films to be successful. They have invested money in you, so it is your duty to make sure the film does well.
If you ask my opinion, I don't look at a film according to its box office collection.
I ran spotlight. Swept up. Did box office. Ran the lighting board. But acting was the most fun.
Virtue has its own reward, but no sale at the box office.
You can't do anything about a film's fate at 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.
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.
It's fantastic to see 'Les Miserables' become the top-grossing film at the U.K. box office.
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.
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.
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.
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.
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.
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.
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.
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.
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.
I want a certificate that allows me to make as big a box office as possible.
Today it's not culture; it's box office.
You don't leave behind box office scores or how many dollars changed hands.
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.
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've never had a career of that kind of box office power. I've always learned the hard way.
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 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.
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.
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.