Gabriel Byrne Quotes

The only reason why I would like to be accepted? Because if your movies don't do well, after a while you don't get to make any more movies.

You have to be in movies that make money to be offered work. Basically that's the equation. There's no real way around that. That said, you don't ever make decisions solely for that reason.

In my career, I've never been a box office name. Granted, a couple of my movies have made a lot of money, but I'd do other movies which make very little money, or they're not seen that much.

You can have integrity with your art, but worrying about integrity doesn't pay the bills.

I'd like to do interesting indie films mixed with big, high-paying commercial blockbusters. 'One for you, one for me,' is what they say.

There was a point I could have just churned out the spot and spin paintings for ever and laughed all the way to the bank.

What is good for you creatively is usually bad commercially. You thrive financially by sticking to a series and not fiddling about too much. You do yourself harm by moving away from the series and the genre. By trying things not based in that particular mode of writing, you will just lose readers.

I don't make films for critics, and I'm not particularly interested in what they have to say, and they don't have a bearing on my audiences.

I want to make my kind of films but make them work commercially, too. When my presentation meets the director's imagination, the result will be great.

I was always flattered, but I just want my movies to make money. I want to be commercial. I'm never the person who says, "I don't care if people don't see my movies." I always want people to see my movies.

My good films were independent and my bad films were not.

I honestly think I could sit down and write a show tonight that the critics would love, and I know it would be canceled within four weeks. I know what the critics love. We write and produce for people, not for critics.

I don't make movies thinking: 'Oh, this is going to be a huge box-office hit.'

If I want to, I can sign 20 films for ridiculous amounts of money, but I really want to do different kinds of cinema. I want creative satisfaction.

If I wanted to work financially, I would have made a series of different choices. I do get offered lots of movies which you could make a lot of money out of. And I always say, 'Why would I do that, when someone else could do it much better than me? Why would I want to do an action picture? Why?'

Film is different for me now. If the money is good and it's not totally revolting, I'll do it.

I'm in a very good place to make records. Needing to make money off music is very dangerous.

The picture has made its million back in four months; I have been overwhelmed by letters, hundreds of them, literally, begging me in my next production not to swing over the shallow trash of mother love, father love, sister love, brother love.

Films must all have the same structure. All of this to guarantee box office bonanza, which of course it never does, but that's another discussion entirely.

I think you get in trouble if you make experimental big studio films.

If the script is right, I'm not above doing a movie with broad appeal.

There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.

I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.

I hope I'm in a position to make stuff that I really want to make as opposed to stuff that I just have to make for money reasons, or to sustain a certain marquee value.

I wouldn't think a blues album would be that commercially successful, but I don't really care. I'd do it for the love of blues, not for the money. I've got plenty of money.