Elizabeth Banks Quotes

You create a work of art. You do not know whether it will get public sanction. Sometimes outstanding films do no business, and sometimes films which are not so good work.

Ford Fairlane was one of those movies that was so much fun to make that it was bound not to be a big hit.

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.

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

When we were making The Fugitive, we all thought it was going to bomb.

["Where the Buffalo Roam" is] horrible pile of crap. [Bill] Murray did a good job. But it was a bad script. You can't beat a bad script. It was just a horrible movie. A cartoon. But Bill Murray did a good job. We actually wrote and shot several different endings and beginnings and they all got cut out in the end. It was disappointing.

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

I've made movies that I thought were okay, but then I was very good. And sometimes you're in a movie and you think, 'I wish more people saw that' - because you're good. And it just works out that the movie gets lost. But that's show business.

Listen, you make a big movie, you're going into the Coliseum, and people are going to give you the thumbs up or the thumbs down. And that's part of the game. It's part of the fun as 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.

I've made movies that we're very successful that we're a complete surprise, and I've made movies that I thought we're going to be very successful that, you know.

Now, there is no business like show business, and there is no publicity like word of mouth. What is word of mouth, you may ask? Well, word of mouth is gold to Hollywood bigwigs, and it equates to box office bonanzas and hit TV shows.

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.

Knowing what I do now, I don't know if I'd ever have the balls to go to film school, with no connections and no knowledge of the business side at all.

Sometimes I do movies that aren't any good, or sometimes I might not be any good in them, or sometimes they don't do very well.

Movies are a director's medium, and they end up getting less credit than actors. They get the flak if the movie doesn't do well, and the actor walks away with most of the credit if the film does well.

A lot of times, we're just sold these movies that are really cynically conceived and marketed, and they just want you there opening weekend, before everybody finds out it's not so good.

You can do a movie and hope it may be great, but until you have seen it, you don't know. I loved 'Rampart.' I love that one called 'The Hi-Low Country' that Steven Frears shot.

Fair or not, it always sucks when everyone wanders back from Sundance talking about how bad the movies were.

It makes it difficult to decide which to go see, since no film about say, some tragic genocide in Africa is going to get a bad review even if it's poorly made.

It's not fair that people wrote that all of my films had not done well. There were a few films like 'Nippu,' 'Devudu Chesina Manushulu' and 'Sarostaru' which were really bad. But, 'Veera' and 'Dharuvu' had done well. Strangely, people have added them to my 'flop list.'

Every film may not be appropriate for a theatrical release, and the theatrical business is not a very good business for anybody except the distributor.

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

I made three movies in 1995 and I was unhappy with all of them: Sleepers, Incognito, and Speed 2.

A film is sort of binary - it either works or it doesn't work. It has nothing to do with how good a job you do. If you bring it up to an adequate level where the audience goes with the movie, then it works, that is all.