Jon Favreau Quotes

There are values on Broadway that are dangerous: it's got to be Best Musical, it's got to make money, it's got to run a certain amount of time. Nowhere in this, of course, is there any mention of quality.

For a filmmaker, whether the film is liked, understood or appreciated counts as much as the moolah.

A successful film is a good film, and a non-successful film is a bad film. It's as simple as that.

A lot of dumb pictures have made a lot of money, but that doesn't mean they're going to be anything cinema students will revel over in the future.

People feel the worst film I made was 'Jack.' But to this day, when I get checks from old movies I've made, 'Jack' is one of the biggest ones. No one knows that. If people hate the movie, they hate the movie. I just wanted to work with Robin Williams.

I would love to do a rom-com, but they are not good - good and successful doesn't equate to the same thing.

I've had movies bomb with terrible reviews, I've had movies make a lot of money with terrible reviews, I've had movies get good reviews and make money. And I like it best when the movies do well and the reviewers like them.

I don't think the audience always listens to the critics. That's been proven time and time again.

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.

Critics think we try to make bad films. They think we want to spend five months of our lives making something bad. We always go out with the best of intentions, whether it's fluffy comedy or a drama.

I feel reviewers are tougher on comedies in general. They don't take them seriously, and the ones that get great reviews are not necessarily the ones that I like.

On the first movie we got good reviews, but we were still dealing with genre stuff. It's going away. Judge the movie - is it a good one or a bad one? We know we made a great movie and it's being judged for just being a good film.

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.

Now, there are so many movies, so many festivals, and so many awards going on, each judged with each other, like your work is worse than others and that's not fair. How can you tell what's best and what's worst from these awards? We're talking about art.

The movies I made early on may not have been great, but they were all commercially successful.

I don't believe that you can judge the worth of a movie in the atmosphere in which it comes out the first time. There's just so many reasons why some pictures don't catch on.

A lot of bad music sells a million copies; I don't think it's a good litmus test for whether things are going well.

I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.

I haven't read a review of one of my films for the best part of 10 years.

I don't generally do movies that get good reviews.

Still, as much as I wish Ballistic Kiss could be a better film, the recognition it gained from critics and at festivals speaks for itself.

I don't think 'Cocktail' was a perfect critical success, but it touched a vein in our culture.

If you make a record, you should ask yourself, 'Did it make someone cry, in a good way, not a bad way?' There should almost be subjective emotional criteria for evaluating work, instead of just profitability.

I believe if you come out of a movie and the first thing you say is, 'The cinematography was beautiful,' it's a bad movie.

I do know my own films don't necessarily work within that high-pressure reductive moment of the opening weekend - or all the ways that many people assess the value of movies.