If it ends up a mediocre, run of the mill production, that's also excusable. And just because an actor or director only took a movie for money doesn't mean they'll necessarily dislike the end result.
Even if it is for the money, the level can be kept high and professional and they can turn out something great (like the example with Coppola and The Godfather). To be clear, however, there is no shame at all for doing a movie for the money, and if the movie happens to be a great one, artistically or popularly, all the better. Some artists, however, can turn this to their advantage a common reason cited by many successful artists who engage in this trope is that a high-paying job that doesn't greatly interest them means that they have more money to put into funding and appearing in lower-budget but more creatively appealing ones. Still, if you do too many of these, you run the risk of having a rather strange IMDb record and irrevocably ruining your reputation as a creative thespian: so much potential and talent wasted. Most actors have been seen sliding down the perceived hierarchy of the entertainment field, with the most common "step down" is for actors who primarily work in film suddenly "slumming it" by taking roles on television. On a cynical note, in the state that America is in today, you shouldn't be surprised to see this more often. And furthermore, most creative professions are overcrowded for every wealthy and successful artist who can afford to sniff at jobs that are 'beneath' them, there are ten or more underworked ones who would kill for a chance at the income. After all, acting is a volatile profession, as many starving artists can attest, and financial security for you and your family is nothing to turn from: It's not so much selling out, as selling well. And it's hard to argue with the fact that, when offered buckets and buckets of cash for three weeks of shooting, anyone would be a fool not to take it. Obviously, movies are big business, and the right name at the top of the poster can be the difference between a hit and a flop. Unlike the Classically Trained Extras, who lament that their talent is being wasted, or the small but legitimate roles of the One-Scene Wonder, or the Old Shame of roles taken when it was the only work available, this trope covers actors who are completely fine with the situation. Sometimes, undeniably famous, classical actors and actresses (or even loveable, talented, squeaky-clean child and/or teen actors/actresses) take roles in movies that are very against their type.
Laurence Olivier, on his role in Inchon (full quote here)
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