Andrew Dominik Quotes

I don't think you can name a good picture where the production or the possible promotion isn't "cast-contingent." That means the film needs not just star power but star box office power.

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.

You want your film to be seen by the largest audience and stars help in facilitating that. Star-power does work.

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.

The movies have a way of seeping out there over time. We don't put them in 2,000 theaters. It wouldn't work that way.

I guess, you make a big studio film, you spend a lot of money on it and you hope people go see it. It's really risky.

Movies don't sit in the theaters for an entire summer like they did in 1982. Now you've got a two- or three-week shelf life so you need to have that awareness right off the bat. And in order to make a lot of people know about your movie, you need to be out there banging the drum and showing your stuff.

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.

People think bigger movies are bad, and that's just not true - there's bad big films, and there's bad little ones. The bad big ones have to make their money back, so they'll push them down your throat, but the little ones just disappear if they're bad.

I hope 'Tum Mile' works in the same way as 'Jannat' or else I will be blamed if it does not do well.

Sometimes, more money is spent on promotion of a film than the making of it. I don't understand that logic. The movie should run on its merit.

I think no one really knows for sure what will work at the box office. Even big production houses don't know what will do well and what won't.

I think of 'Beyond The Clouds' very fondly. Yes, it has not been seen by a lot of people in theatres. I had anticipated more people would watch it. But that has to do with something I don't know well: marketing. A lot of people didn't even know that it was a Hindi film.

According to me, a film can talk for itself. Like, Aamir Khan does not promote his films on a large scale, but his films work on the box office.

Let's face it, making movies is all risk. Most of the time, batting average-wise, the reward does not outweigh the risk.

The amazing thing is that the more money it takes for a movie to get made, the more you feel like everybody wants you to fail.

I want people to see my name on a movie, pay money and know they're going to be entertained for 90 minutes.

The award is important in order to bring people to the movie theater. That's the only principle meaning of any award.

The movie business is very much like that: people in authority making purely emotional decisions instead of interesting rational ones.

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.

The many many imponderables come together when a film opens and for all sorts of reasons it may or may not succeed.

The stakes are high on every film now because there's the opening weekend. The first week is extremely crucial; increasingly, films are being judged in terms of opening day, opening weekend, then first week. People are going berserk promoting their films.

The industry has to have the audience in order to make these films. So it's a serious thing - how do you get people to leave their houses and go to the theater?

Everybody loves a hit. There is nothing as fun as making a cultural splash with a movie.

It costs a lot of money to release a movie. What you'd call art-house movies - movies that don't have big stars or big budgets - they're very hard for distributors to get behind 'em and take chances.