Dirk Benedict Quotes

You hope any film finds its audience and makes enough money that you get to make another one.

I don't believe in the 100 crore club.

Now a movie goes out to two, three thousand theaters and by Friday night at 10 o'clock they know if you are in or out. That desperate competition is, I think, horrendous. It's awful.

Everybody's trying to make blockbusters.

I am happy that most of my films did good business and either set or broke records at the box office.

I want a certificate that allows me to make as big a box office as possible.

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.

Obviously, I try to make the films work for an audience. That's the main point of making a film, and in retrospect, one can see that certain films, let's say Leaving Las Vegas, demonstrated its own success.

If there's a British film in the marketplace that is successful on a worldwide basis - whether it's 'A Room with a View,' 'Four Weddings' or 'The Full Monty' - money follows, and everyone tries to emulate that success.

Movies are a commercial medium. We don't make movies to impress our friends and critics. It's an expensive medium. We have to gain money from it.

I don't really have much to prove. I can easily go in a comfort zone, make two films a year, hype them because I've signed them as a star, make them cheap and they will be big hits.

I want to make a film that is commercially successful because that means that the larger cinema-going audience around the world like the movie, which is my goal. That's my job, to make films that people respond to.

Steven Spielberg is unique. I feel that the kinds of movies he loves are the same kinds of movies that the big mass audience loves. He's very fortunate because he can do the things he naturally likes the best, and he's been very successful.

I think a lot of Hollywood is in retreat right now trying to figure out how to make money and make the safest bets.

The only way you can continue to make artistic films is to make an occasional one of those. They kind of keep your marketability going to the extent that people will employ you.

I've never made a film that lost money.

I have not been a follower of how many millions my films made or did not make.

I think feature film can be quite conservative, because you have to now get audiences to come out, and it's quite a hard thing to do. Of course, television can be conservative too.

I've always wanted to be a very commercial director, or I had dreams of making these movies into blockbusters. And with each movie, they tell me it's not that way.

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.

Today it's not culture; it's box office.

Jerry Bruckheimer has made millions of dollars producing propaganda.

I certainly wouldn't mind if 'Jurassic Park' turns out to be commercially successful, and somebody says, 'Hey, you were in a box-office hit, and if you want to do another movie, we'll give you five million dollars to make it.'

I think the only thing filmmakers can do is try to make good movies and make them as long as they allow us to keep making them. But at the end of the day, it is a business, and if audiences don't care, there's nothing we can do. It'll just go away, I guess.

Most people who've had a big hit movie like 'Paranormal Activity,' the next thing they say is, 'I want to make a $100 million movie.' I have no interest in making more expensive movies.