Films must all have the same structure. All of this to guarantee box office bonanza, which of course it never does, but that's another discussion entirely.
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
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.
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.
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.
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.
I've never been driven by box office.
American commercial cinema has long been dominated by men, but I don’t think there has ever been another time when women have been as underrepresented on screen as they are now. The biggest problem isn’t genuinely independent cinema, where lower budgets mean more opportunities for women in front of and behind the camera. The problem is the six major studios that dominate the box office, the entertainment chatter and the popular imagination. Their refusal to hire more female directors is immoral, maybe illegal, and has helped create and sustain a representational ghetto for women.
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.
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.
I don't want to be 'box-office girl,' but I don't want to be 'that indie girl' either.
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
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.
I gauge success in years, not weeks. The weekend box-office approach to book launches is short sighted and encourages crappy books.
Hollywood's thinking is very typical. And it's just really predictable too. And I think at Hollywood, these box office movies are flopping. I mean, there hasn't been an original thought coming out of Hollywood since the '80s.
Actors are greedy. They can never be satisfied. I want praise as well as box office returns.
I never thought of myself as any kind of a film star, as many films as I've made - and I've made some really fun movies with good people. I've always been paired with someone because I'm not really box office, in that carrying-a-picture sense. I've always been busy, but not in the spotlight.
Hollywood is designed to check the box office on Monday morning and see: "How'd we do? How much?" It's another facet of this whole culture of accumulation and consumption. Black people are caught up in it, white people are caught up in it, white actors, black actors, female actresses - everybody's caught up in it.
When television killed comedy and love stories, the movie makers went in slugging. They offered the downbeat, the degenerate as competition. This seems to me to be a sad campaign for Hollywood to use to combat box office disaster.
Box-office poison? Mr. Louis B. Mayer always asserted that the studio had built Stage 22, Stage 24 and the Irving Thalberg Building, brick by brick, from the income on my pictures.
France can compete with the Hollywood studios in terms of animation savoir-faire, but not in terms of box-office figures. France is a small country, and the Americans are the masters of the world - for cinema, it's true.
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.
With Hollywood you're yesterday's news if you get a flop at the box office. So you might as well be braced to have something else to do that's interesting. Have something lined up to keep your stories fulfilled, and your ideas, because if you're just cranking out movies three times a year.
Especially for people who are unknown, it's easier to get a TV show because you don't have to put a certain amount of people in movie theaters for a box office weekend. It's really difficult to get a great lead role in some big film, if nobody knows you.
A gay murder movie is never going to be, like, breaking box office records.
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