Carlo Ponti Quotes

If someone puts up $100 million on a movie, they're gonna be concerned about whether they'll get it back. So they're not gonna make a movie about three girls, you know?

I've made movies where people say it's their favourite, but they don't take it seriously because it just didn't seem to break through commercially.

Sandalwood is a force to reckon with. People from all over are investing time and money here because the films have good reach and reap good rewards as well.

If you make a good film, then there's no harm if it achieves commercial success.

Baghbaan' is a totally commercial film.

When I see good films not doing well, irrespective of my role being appreciated or not, I have a problem because then the producer who has made a loss will never believe in investing in good cinema.

I am choosing films only to entertain people, but at the same time, if someone is putting their money into my films, I want that person to make money.

Films are commercially viable when you work with a superstar. That's why I did 'London Dreams' and 'Ready.'

The problem is some of our riskier films just don't make as much money. But if you only make films that will just be commercially successful, then you can also sink yourself as a studio.

I would never want to do a content-driven film with a box office life of Rs 20 crore.

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.

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

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.

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.

The effort always remains that my new film outdoes my last in terms of performance and gets better box office success. Box office is the sole reason why I do films.

Ideally, I want my films to work because I want the people who have invested their money to get back their investment and make profits too.

I want my films to make money first. Awards and all can come later.

When you're spending $100-plus million dollars, you need to give the audience what they want.

At the end of the day, all I want is that my films should do well.

Regardless of what film you make, you want people to watch your film, and you ultimately need commercial success.

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

I want to make sensible commercial films.

You have to acknowledge that films that have a strong concept and are easily marketed to people are the ones that stand the biggest chance of success.

You want every film that you make to do well, not just indie films in general.

I'm not interested in artistic records for the sake of making artistic records where they're so cool no one listens to them.