Govinda Quotes

I believe in good films and bad films. Box-office business and all is my husband's section. Sometimes I really get surprised when good films don't do well... Sometimes you are really shocked when an average film does very well.

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.

As a producer, the most important call you can get is on Saturday morning, when the Friday-night grosses come in. As a director, you want your film to be successful. But your outlook is a bit different. You become very conscious of the reviews.

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.

If Hello' had been my debut film, the numbers would have played out differently.

I do not keep a track of numbers as such, but I am definitely aware of how a film of mine is doing when it is playing in theatres. More than the numbers, it is important to know how the audience is reacting to the film.

Really bad reviews can hurt pretty much any movie. They say that some films are review-proof, but I think that's probably big high-concept movies, comedies, and so on. But, on the whole, if a film gets dreadful reviews, it will affect its business.

I don't really think about the box office, but I want my films to do well.

It is true that no matter how good your film is, you get judged purely on the basis of how well it does at the box office.

I would really want all my films to make money. But this weekend calculation is the most dangerous thing because, based on the amount collected in the first weekend, they start declaring the film a hit or a flop. It can't be.

I want a certificate that allows me to make as big a box office as possible.

All my films have been criticised, but here I stand with six superhits and three 100-crore films!

I have been in a lot of movies, but none of them are critics' darlings, you might say.

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

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.

The success of the film should depend on its budget.

I think the success of a film is very important to an actor. It depends on how many people go to watch your movies; the more the merrier. Nobody wants to do a film for five people. You work so hard that millions of people watch the movie; this is directly related to box office success.

What counts in Hollywood is box office. It doesn't really matter what people think of you as an actor because, as long as you have been in a movie that has made money, you will always get another job.

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 didn't think Comfort and Joy was going to be a box-office smash.

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.

I'd never read 'Prince Caspian'. I watched it and loved that film. Everybody was talking about its lack of success; its relative success in comparison to the other film. It's a great film. It deserved to do a lot better than it did. It's very difficult to make a film that will match up to the first.

I thought 'Deliverance' was a very good film. But it didn't have the success financially that 'Smokey and the Bandit' did, although that film made more money than 'Star Wars' in the first week.

A strange thing happens when Spielberg discusses his own work. His degree of self-criticism seems a direct reflection of each film's box-office performance. You will not catch him complaining that the audience 'didn't get' a film; if it didn't do well, it generally didn't deserve to.

When my second film 'Dus' released, I was still getting compliments for 'Tum Bin' because it was a hit on satellite channels.