As a rule, Germans shouldn't do comedy. Their last box office comedy was Nosferatu.
And yes, it is harder to make movies because budgets are getting smaller, and the companies stocks are down. The only good news on the horizon is that box office has been up by something like 23% from last year, which is great for us. It's still the cheapest form of entertainment.
Star Wars film is breaking all previous box office records. (Why might we want to revisit those characters, that narrative, those jokes and tropes again, in this way, right now? I wonder what it will turn out to reveal about the economics and politics of this moment.)
Basically I was a theatre fanatic. I had a job with Home Box Office as a theatre consultant for a long time.
When you have box-office results, Hollywood treats you different. Hollywood stands up. Once you get to the point where Hollywood sees that you create results, then the demand for you becomes higher.
People get distracted by box-office figures and take jobs because they think it will advance their careers.
Even after I had just done Twilight, which made $400 million at the worldwide box office, I could not get financing for three or four projects that I really loved and I thought people would love because they didn't fit some studio or investor's model of thinking, "This will definitely make money." It's a business and a film does potentially cost millions of dollars, and they have to think that they're going to get their money back somehow.
I will tell you that we're all human beings, and we all care about what people think of us. But in general, their outlook is, "We're not looking at opening night numbers. We're not looking at opening night box office. We want this to be part of the reason you come to our service."
Yeah, I look at the box office as an indication as how many lives that you've touched, so my hope is touch as many lives as possible.
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.
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.
The most important thing to having a long career, as an actor, is diversity and being able to play different types of characters in different types of movies. I want to keep acting, all my life. In order to do that, I think it is important to go and do the bigger tentpole box office movies, and then also do more character roles.
I think the art film, or the auteur-driven film - and not only foreign, but domestic films following that path - can get a small share of the box office. And I think that small share may open up a little bit.
Then if your movie clicks with real audiences, you'll be sucked into some sort of Hollywood orbit. It's a devil of a place where the only religion that really counts is box office.
Jay Carney told the reporters at his morning briefing that he hoped they would watch the new movie about Obama's first term 'many times.' They might. Look how well 'Titanic' did at the box office.
Alan Ladd was a marvelous person in his simplicity. In so many ways we were kindred spirits. We both were professionally conceived through Hollywood's search for box office and the types to insure the box office. And we were both little people. Alan wasn't as short as most people believe. It was true that in certain films Alan would climb a small platform or the girl worked in a slit trench. We had no such problems together.
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.
it's difficult in Hollywood to be allowed to try anything. It's all a terrible compromise. There is no time for art. All that matters is what they call box office.
I'm really excited that 'The Other Woman' did so well at the box office, and I hope that will keep encouraging people to make movies about women, starring women, about female friendships. More. Please.
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.
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.
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.
Conversations about films are always funny. I would say a majority of people want to talk about what were the more obvious successes; the big box office films. Other people wanting to be more sensitive to you want to talk about the ones that maybe didn't make a lot of money, but they think you might have a special feeling about. And then other people sometimes want to help you by suggesting that you should have done this or that in the movie, that that would have helped you a great deal in whatever capacity.
What I learned from this movie, 40 Days and 40 Nights: Abstinence can be a very good thing. Especially from box offices where this film is playing.
People can criticise all day long, I think I've proven myself, I think I deliver. And I agree, box office does not mean a movie's good, but I feel like I'm making good movies and I'm delivering in box office.
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