Box Office Success Quotes

Of course it's difficult to top a box office success like Emmanuelle, so it will always be my most important work. But that's nothing to be ashamed of.

I gauge success in years, not weeks. The weekend box-office approach to book launches is short sighted and encourages crappy books.

I think that the entertainment industry and the entertainment press tends to focus on opening weekend box office as a measure of the success of a film and I think the true success is out there in people's homes and how much they absolutely love these characters.

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.

You do the work and you want people to see it;

but, um while I'm doing the work, the result doesn't matter at all to me. Ultimately, I don't, I don't care whether the film is - you know - some big giant box-office bonanza and I don't care if its a complete flop. To me, when a film gets made and it's actually finished it's a success. They're all a success in their own way.

Fortunately for me, I don't come from the school where you only measure success by how much money something makes or whether it has a big box-office weekend. I measure it by how much people actually participate in the process.

Everyone thinks that Fight Club is a very important and successful film, but it was a massive box-office failure. Massive. It was a big flop by any commercial-release standard. And it's been a huge hit on DVD. Everything that movie has become has been on DVD. So you can't stake your sense of creative success on this whole box-office-performance matrix, because if you do, you're going to be disappointed most of the time.

When you finish a film, before the first paying audience sees it, you don't have any idea. You don't know if you made a success or a flop, when it comes to the box office.

I always assume that nothing that I make is going to be a success, that everything I make is going to be a failure - not a failure but not some huge box- office success. If something is an artistic success, I'll be happy, but I'll maybe be the only person that's happy.

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.

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.

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.

You can measure films on box office success, or people lovin' the movie whenever they see it. That's what I measure my movies on. How much people love these movies after they get a chance to see them, no matter how they get a chance to see them.

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.

Now, the big box office successes are superhero stories.

It seems there's a lowest common denominator mentality, in terms of movies that are almost purely visual, that anyone can understand anywhere in the world. Good robot, bad robot: they fight. You don't need to know anything apart from that. And then we can make toys that look like that robot - and sell those toys or video games.

I always thought there was some place I was going, that there was some success or some achievement or some box-office number that was going to fill the hole. And what I realize is that life is a hole. It's a process of continually trying to find and reinvent myself.

I think what you have to do is have a box office success in every genre and then you're set for life. And fortunately, I happened to do that, so I get a myriad of offers of various sorts.

Carmen Jones was the first all-Negro film that became a great box-office success. It established the fact that pictures with Negro artists, pictures dealing with the folklore of Negro life, were commercially feasible. This was a sign of growth that had occurred in the United States and throughout the world.

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 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 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.