Quotes About Blockbusters

I mean, movies are all geared to be basically under 25, and they're all tentpoles, explosions, excitement and all that - they take advantage of the big screen, which is great.

I'm an eclectic and avid filmgoer. I try to see everything from romantic comedies to blockbusters to art house films, world cinema and documentaries.

I'm of course disillusioned with what has happened to World cinema. Now cinemas in both Eastern and Western Europe are filled with the same blockbusters from Hollywood.

The mere observation that something is popular, or even that it became so rapidly, is not sufficient to establish that it spread in a manner that resembles a virus. Popularity on the internet is driven by the size of the largest broadcast. Digital blockbusters are not about a million one-to-one moments as much as they are about a few one-to-one-million moments.

Summer blockbusters are very expensive to make. They have things that have to be expensive, such as 600 effects shots or CG characters that have to go a certain way, or a film design that is different but expensive.

Blockbusters run the mainstream industry. We may never again have a decade like the 1970s, when directors were able to find such freedom.

Without doing the big blockbusters, I wouldn't be able to find the money to go after little projects that I want to do.

Big feature films are another world.

You do sequels because they are tent poles. They open well, and they hold the tent up. But in between, you make a movie you respect.

When a movie or TV show is too heavily larded with these moments, you may be looking at the result of interference from producers and executives. They've trained themselves to see stories as connective tissues fusing together various categories of gratification. This is why so many would-be blockbusters play more like hodge-podges of disparate stimuli than satisfyingly integrated narratives.

The core of the movie business remains intact and it's not descending in scope. Studios want movies that are bigger than ever.

I would be lying if I said I did not feel bad when 'Shamitabh' failed, but I was proud to be associated with a film like this. If it were easy to know the pulse of the audience, then all movies would be blockbusters.

For a while, all the studios had their art-house divisions, but that went by the by pretty quickly. Now, they're really focusing on these huge blockbusters, spending a fortune on cartoon pictures and comic-strip movies and superhero movies, and they aren't making pictures like 'How Green Was My Valley,' which was an Oscar winner in its day.

I just love doing movies that I would want to see in theaters.

The movies have got more corporate, they're making fewer movies in general, and those they are making are all $200-$300m tent-pole releases that eat up all the oxygen.

Since the publicity campaigns for these blockbusters have proven effective in the popcorn economy, studios recycle their elements into endless sequels, such as those for Spider-Man, Pirates of the Caribbean, Shrek, and Mission Impossible, which then become the studios' franchises on which they earn almost all their profits.

Some of the most interesting questions needing to be asked today can best be asked on television, or on stage, and they can be wonderful, great dramas, but they won't necessarily be blockbusters.

It's wonderful to do these great blockbusters and bigger pictures, but my heart is always with true stories.

I've found myself moved by letters and diaries in archives as well as trashy, summer blockbusters. It's possible to make a connection with any kind of writing - as long as the writing is good.

When someone says 'comic book movies', what they inevitably mean is a summer superhero blockbuster, with heavily-muscled and tightly-gluted men (plus the occasional token woman) in tight-fitting costumes punching the living daylights out of one another for two hours.

When I get the chance, I'm at the theaters all the time, trying to check out the latest movies.

Everybody wants blockbusters. I like to see a few pictures now and then that have to do with people and have relationships, and that's what I want to do films about. I don't want to see these sci-fi movies, and I don't want to do one of those. I don't understand it.

You can't write off Prakash Mehra and Manmohan Desai hits.

Independent cinema is more thoughtful, delicate. While Western blockbusters can have their own kind of delicateness, it's not delicate enough. You have to be ready to compromise to enter that field. I will do so only if it's worth it.