Кассовые сборы фильмов

[okami_]

6 часов назад, gearswik написал:

из показателей только просмотры ролика

Из того, что я видела у всяких умных дядек - это просмотры, это количество лайков, это реакция а соц сетях, это постоянный интерес к сабжу в новостной повестке развлекательной. Какие здесь ещё могут быть показатели? Если они дутые, как и великолепные тестовые (вспоминаем Гладика) -  это другой вопрос, но пока это единственный ориентир.

[Konnor Drake]

Им главное маркетинг грамотно дальше строить, поменьше косоглазого Коренастого в роликах хотя бы, а то зафакапят легко 

[gearswik]

1 час назад, okami_ написал:

Из того, что я видела у всяких умных дядек - это просмотры, это количество лайков, это реакция а соц сетях, это постоянный интерес к сабжу в новостной повестке развлекательной.

главное не обольщаться, поскольку фанатский ажиотаж уже не раз путал карты умным дядькам

[okami_]

25 минут назад, gearswik написал:

главное не обольщаться, поскольку фанатский ажиотаж уже не раз путал карты умным дядькам

Ну тут согласна, конечно, посмотрим.

[Vibaka]

8 часов назад, gearswik написал:

ВОМ не может в простые арифметические вычисления

не может признавать невыгодную для Запада правду, все как у них принято - манипуляции, игнор, двойные стандарты.

[DandyAndy]

Can Mike & Pam Survive at Warners?

As Mike De Luca and Pam Abdy’s first full slate for Warner Bros. hits theaters, the talk around town is about the studio’s big budgets, risky bets, and how David Zaslav, a notorious belt-tightener, let his deputies spend so much.

Цитата

“Let’s talk about Warners.” That’s how a top agent answered the phone when I called him Thursday. No hello—just straight to the topic that we both knew had been consuming the town for weeks and had built to a crescendo during the past few days. Mickey 17, a pricey sci-fi comedy from Parasite director Bong Joon Ho, was hitting theaters, the first in a series of risky and expensive—or bold and original—movies that film studio co-chiefs Mike De Luca and Pam Abdy had put into the pipeline. As debt-laden Warner Bros. Discovery has slashed costs seemingly everywhere, Hollywood has watched in fascination, curious when the famously tightfisted C.E.O. David Zaslav would pull the plug on the spending spree.

 

Industry insiders wondered: Did Zaslav not know that the talent deals were unusually generous, or that the budgets on these films were kinda big? After all, he came from television (not the fancy kind), and the movie business is its own dangerous animal—never more so than now, when audiences are more finicky than ever. Hollywood saw Zaslav as another naive outsider, just as the Germans or Transamerica or Coca-Cola had been when they marched into—and then back out of—town, after learning how fast money can burn. Certainly, Zaslav’s undisguised, wide-eyed glee at finding himself smack in the middle of the Hollywood big time suggested that, notwithstanding his reputation for squeezing a dollar hard, he might be fleece-able.

 

Even as a newbie in 2022, Zaslav easily could have learned that De Luca and Abdy were known for taking big swings on original material—a great trait… unless those swings whiff. In the Sony hack, it emerged that Doug Belgrad, then president of the film studio, had complained in November 2014 about De Luca’s spending as a producer in an email to Belgrad’s then-boss, Amy Pascal: “I don’t think Mike actually even remembers between each moment I tell him how over budget they are, how over budget they are.” Pascal—ironically known as a spendy executive, herself—responded: “I want them to understand how to do the job like a grown up with plans and targets and responsibility. I keep writing the same note over and over like a crazy person.”

 

During their tenure atop MGM, from 2020 to 2022, De Luca and Abdy made costly movies like House of Gucci and Cyrano—but failed to make money. After Amazon bought (or overpaid for) MGM, its leadership was shocked by the magnitude of the losses under the hood.

 

But one of the key people Zaslav turned to for advice about the Warners film studio happened to be the very person who had helped place De Luca and Abdy at MGM: Bryan Lourd. The CAA C.E.O. is a very persuasive fellow, and many clients have the bank accounts to prove it. At MGM, for example, Paul Thomas Anderson made Licorice Pizza, which cost about $50 million and grossed a paltry $32 million. Now he’s deep into a movie for Warners with a nine-figure budget—much larger than he ever could have dreamed, considering that There Will Be Blood, his highest-grossing film, brought in just $76 million back in 2007.

 

Zaslav may have tried to prevent a lot of overspending by putting a limit on De Luca and Abdy’s greenlight authority. Rumors have varied about the dollar amount, but it had to be lower than $100 million—meaning that Zaslav must have blessed, or at least somewhat blessed, the expensive films that have the town buzzing. So while the rumors rage and a recent Bloomberg article very ominously stated outright that Zaslav was “losing patience” with his studio heads, it’s also possible he should have a stern talk with himself.

 

“Utter Malpractice”

 

When De Luca and Abdy went to work at Warners, they cited the Joker sequel as their first green light. That hardly felt like much of a statement: Who wouldn’t make a sequel to Joker, which had grossed $1 billion? De Luca and Abdy wouldn’t have received much credit if the movie was a hit.

 

But the gods were cruel, and when Joker: Folie à Deux went down in flames, they took some of the blame. Filmmaker Todd Phillips had not test-screened the movie, fearing leaks. He did the same with the first movie, but that was a $55 million proposition. The sequel was just a bit more expensive. “You don’t allow the refusal to test-screen!” a top executive at another studio almost shouted at me at the time. “There’s no $200 million movie in the business that you don’t test-screen! It’s utter malpractice!”

 

The test-screening issue popped up again with Mickey 17. The film was greenlit by previous studio chief Toby Emmerich with a $118 million budget, but De Luca and Abdy were on the job when it went into production and passed that number. The film tested badly, sources say, but director Bong dismissed the results, saying his Oscar winner Parasite didn’t test well, either. But that film had cost just $10 million.

 

Meanwhile, a knowledgeable source told me that Warners had come up with an alternative cut of Mickey 17 that tested 10 points higher. But the director had final cut and got his way. Based on the film’s $19 million domestic opening and B Cinemascore, a source estimates that the movie will fall $100 million short of breakeven at the box office. And industry insiders expect a rising tide of red ink as more of the studio’s risky movies open in theaters.

 

The Talent

 

The issue is certainly not any lack of talent among the filmmakers working with Warners. Quite the opposite: The studio has sought relationships with the best names in the business. Promising a full theatrical release, Warners snatched Margot Robbie’s Wuthering Heights from Netflix with an offer of $80 million—much less than the $150 million dangled by the streamer. The success of Wonka and Dune led to a first-look arrangement with Timothée Chalamet. And De Luca and Abdy got a meeting with Tom Cruise following a call they had made to his agent, CAA’s Maha Dakhil, asking her to pass along their thanks to Cruise for working to save theaters during the pandemic. With Zaslav joining that meeting, Warners came away with a nonexclusive first-look deal. (Paramount, which had long been Cruise’s primary residence, was not looped in on the discussions.) Of course, Cruise doesn’t work cheap, and he’s now shooting a big-budget Alejandro G. Iñárritu film that has fallen behind schedule in part due to a John Goodman hip injury.

 

That film isn’t due until 2026, but the remainder of this year will bring a string of films with the generous budgets and deal terms that have Hollywood veterans shuddering. Consider the Michael B. Jordan–starring Sinners, a period vampire movie from Ryan Coogler, the gifted director of Creed and the Black Panther movies. Sources say that Universal and Sony, among others, were very interested in making Sinners, but dropped out when Coogler’s team asked not only for first-dollar gross and final cut, but also for ownership of the film 25 years after release. That request was an absolute deal-breaker for both studios.

 

Sources with knowledge of the situation said that Warners’ seasoned president of business affairs, Steve Spira, objected strenuously to that highly unusual request, but was overruled. The arrangement even prompted chatter among the company’s board members. To some in Hollywood, this was another example of malpractice. “If you’re Mike, your job is supposed to be improving the library,” said a top exec at another company. “When you make movies and don’t own rights, you’re not doing that.”

 

Sinners, set for release April 18, also went well over budget, though insiders said that, contrary to rumors, Coogler is covering overages out of his fees and backend. And unlike Bong, Coogler has been receptive to feedback from test screenings. But bottom line, said a source, the film would need to open at around $50 million to $60 million to have a hope of reaching breakeven, which feels like a tough bar to meet.

 

De Luca and Abdy can’t be blamed for the upcoming Alto Knights, in which Robert De Niro plays two characters. That one was Zaslav’s baby, an early-days decision that he made after running into his friend, the writer Nick Pileggi. That certainly surprised the town, but maybe not as much as De Luca and Abdy’s decision to greenlight Anderson’s next film, tentatively titled One Battle After Another, with a budget widely believed to be at least $150 million. (Warners disputes that number.) The film features bona fide movie star Leo DiCaprio, and Warners’ logic is that Leo is a major difference-maker. DiCaprio hasn’t faltered at the box office much, though he is mortal, with disappointing numbers from such films as the Clint Eastwood drama J. Edgar, in 2011, and Martin Scorsese’s Killers of the Flower Moon, in 2023. The world will soon know whether he can propel this project to a multiple of Anderson’s previous box office best.

 

Longtime industry insiders are also scratching their heads at Maggie Gyllenhaal’s Frankenstein riff, The Bride, starring Christian Bale and Jessie Buckley. Gyllenhaal has directed only one film: artsy Netflix project The Lost Daughter, which earned three Oscar nominations. From that movie to a budget of more than $100 million is quite an astonishing leap. “To give her anything more than $15 million to make the movie is irresponsible, as far as I’m concerned,” said the head of one production company. The film, which was shot in New York, is said to have had worrisome test screenings that suggest it may be too arthouse and not squarely enough in the horror genre to generate the big audience that the budget demands. Abdy is now tasked with getting it into shape for a planned release in the fall, and word is she’s having a hard time of it. (Warners declined to comment.)

 

The Blame Game

 

In early January, as all this ferment was bubbling up, De Luca and Abdy summoned Warners’ marketing chief, Josh Goldstine, into their office and sacked him, even though he had signed a three-year deal just a year earlier. They also jettisoned Andrew Cripps, their head of international distribution, who was quickly snapped up by Disney. Warners had recently disappointed in its overseas releases of Twisters and Beetlejuice Beetlejuice, but the Goldstine move mystified many people, who credit him with getting Dune: Part One to a $411 million gross while the pandemic weighed on audiences, and the sequel to $715 million in 2024—and, above all, for selling Warners’ biggest movie ever, Barbie, as brilliantly as it could have been sold.

 

Everyone in Hollywood knows that when things go wrong at a studio, marketing is the first to get blamed. But why fire Goldstine now, before this string of risky movies rolls into theaters? Insiders said De Luca and Abdy cited frustration at what they saw as his one-size-fits-all approach… yet Goldstine’s team remains, and he is not being replaced. It also appears that Warners, consistent with other divisions of Warner Bros. Discovery in the Zaslav era, is trying to spend less on marketing, which seems particularly risky with original films that aren’t presold. (For his part, Goldstine is currently considering options that include becoming a marketing consultant on Greta Gerwig’s Narnia movies at Netflix.)

 

With all this as a backdrop, rumors flew late last week that De Luca and Abdy were out. Asked for comment, Zaslav’s spokesman, Robert Gibbs, responded, “There is no truth to that rumor.” And that was it. Needless to say, the statement likely will do little to stop the rumor mill from grinding on. Zaslav has been said to be leaning toward replacing them with Peter Safran, the co-chair and co-C.E.O. (with James Gunn) of DC Studios. But simultaneously, there are rumors that Zaslav will initiate a search for new leadership.

 

Meanwhile, Gunn and Safran are busy with a little project of their own: Superman—the July release that has now taken on almost incalculable importance to Warner Bros. Discovery. If Warners can’t finally make the DC franchise work, there is genuine fear that the studio will go the way of Fox, which was swallowed by Disney in 2019.

 

Warners was once considered the Tiffany of movie studios. Sure, the corporate jets and the nice Acapulco retreat are long gone, but Warner Bros. is still fundamental to the industry’s image of itself. Presiding over the destruction of the place is hardly the Hollywood ending that Zaslav envisioned. “An essential element of the stock price is believing that the I.P. of DC is meaningful,” said one Warners veteran. “David bet big that they can show the world that the DC I.P. can have real value. Superman is the first movie. That will set the tone. They have a tremendous amount riding on it.” That’s a staggering amount of pressure on Safran and especially Gunn, who is directing. But if the movie doesn’t work, at least no one can say it’s Mike and Pam’s fault. Unless folks want to blame the marketing…

[DandyAndy]

Майнкрафту на старте в Штатах прогнозируют 58 млн

[Sogood]

48 минут назад, DandyAndy написал:

Майнкрафту на старте в Штатах прогнозируют 58 млн

Нда. Самая популярная игра эвер, и такие позорные сборы.

[gearswik]

на уровне Соника 

[Boroda4]

58 минут назад, gearswik написал:

на уровне Соника 

Только Соник дешевле стоил(

[Evil.man]

1 час назад, Sogood написал:

Нда. Самая популярная игра эвер, и такие позорные сборы.

ну так её игроки самостоятельно в кино пойти не могут в основном, вот и результат

[gearswik]

[Boroda4]

Оригинальная Белоснежка еще та хитяра

[rich]

1 час назад, gearswik написал:

мда, Титаник оказывается ещё бОльший фильм-событие (в сравнении с Аватаром1) чем я думал...Король лев - неожиданно топ1, вторая часть чисто на двд  мегауспехом стала, нонсенс.

[Fiksaj]

433 ляма аватара это же древние цифры с носителей в северной Америке, а он же и по сей день продаётся в цифре и по подписке на дисней+, да и на дисках по всему миру всяко чего-то насобирал, по итогу 3.5+ лярда всяко заработал...

[gearswik]

54 минуты назад, Fiksaj написал:

433 ляма аватара это же древние цифры с носителей в северной Америке, а он же и по сей день продаётся в цифре и по подписке на дисней+, да и на дисках по всему миру всяко чего-то насобирал, по итогу 3.5+ лярда всяко заработал...

какие есть на Numbers'ax

[DandyAndy]

Soderbergh’s Starry ‘Black Bag’ Dismal $7.5 Million Opening Is Hollywood’s IP Dilemma

Цитата

A critically praised Steven Soderbergh spy thriller might have been an easy sell to moviegoers even a decade ago. But the dismal $7.5 million opening of Focus Features’ “Black Bag” shows the chicken-and-egg problem that Hollywood faces when it comes to building audiences for movies that don’t have a well-known IP attached.

 

“Most of the films that are in theaters right now are getting great reviews, but it is still a challenge to get moviegoers to give them a chance with their hard-earned dollars,” said Comscore analyst Paul Dergarabedian. “It’s something that has been going on for a while, as the audiences have shown that they want certainty with the dominance of tried-and-true franchises even as some have decried the lack of originality.”

 

Produced on a reported $50 million budget, bought by Focus as a negative pickup and running at a tight 93 minutes, “Black Bag” stars Michael Fassbender and Cate Blanchett as married intelligence agents George and Kathryn Woodhouse. Their relationship is put to the test when George discovers that Kathryn is suspected of espionage, forcing him to choose between his marriage and his country. Critics have given the film rave reviews with a 97% Rotten Tomatoes score while audiences were less enthused but still positive with a 71% RT score and a B on CinemaScore.

 

The marketing spend was not immediately available.

 

To some degree, this sort of opening is par for the course for Soderbergh in the post-“Ocean’s” trilogy stage of his career. Not adjusted for inflation, this $7.5 million start from 2,705 theaters is consistent with the $7.6 million opening earned from 3,031 theaters by the director’s 2017 redneck heist film “Logan Lucky,” which starred Channing Tatum, Adam Driver and an against-type Daniel Craig. More recently, his 2023 film “Magic Mike’s Last Dance” opened to $8.3 million from 1,496 theaters.

 

But for theaters, seeing such a low start for a film with an original screenplay can’t be encouraging, and it isn’t the only one. Paramount’s “Novocaine,” this weekend’s No. 1 film, opened to just $8.7 million from 3,365 theaters.

 

It’s a start that Paramount will be satisfied with as it meets their pre-release projections and should allow the R-rated action comedy to get out of the red against its $18 million production spend. It could also leg out from its post-release buzz with Rotten Tomatoes scores of 82% critics and 88% audience. But independent trackers were predicting — and theaters were hoping for — an opening of at least $10 million.

 

Neither “Black Bag” nor “Novocaine” are intended to be “Dune: Part Two”-level hits. But in a healthier pre-pandemic box office, they would be counterprogramming against a four-quadrant blockbuster.

 

But with Disney’s “Snow White” and Warner Bros.’ “A Minecraft Movie” still on the way, these films, along with Warner Bros.’ “Mickey 17,” which has grossed $33.3 million domestic and $90.4 million worldwide after two weekends, are getting released into a market where a lack of momentum and a higher level of selectivity by audiences makes it harder to turn positive reviews and public reception into box office traction. And the upheaval in the traditional avenues of advertising makes it harder to get the word out.

 

It’s harder to sell on TV

 

For “Black Bag,” there’s an additional challenge that makes building pre-release buzz more difficult: how does one advertise to an older core audience when the tried-and-true method of doing so, linear TV, is in decline?

 

Trailers remain the most effective way to raise a film’s awareness for all ages, but that’s predicated on momentum in the theatrical market. When moviegoing is as slow as it has been for the past several weeks, that takes away the effectiveness of trailers, forcing studios to turn to other forms of marketing.

 

For a film like “Novocaine,” which will primarily appeal to men under 35, a digital-first marketing campaign on platforms like YouTube and Twitch is the obvious and cheaper way to go. Paramount also spent big on a pregame Super Bowl ad for the film and sent stars Jack Quaid and Amber Midthunder to an LA Clippers game for a humorous advertising stunt.

 

But according to PostTrak data, the opening weekend audience for “Black Bag” was 59% over the age of 35, compared to 42% for “Novocaine.” TV spots have historically been the best way to catch a wide swath of that demographic.

 

With the decline of linear TV along with streaming subscribers split between ad-free and ad-supported subscription programs, it’s harder to get spots in front of a televised crowd outside of sports broadcasts. Cable news has also been another option, and one that Focus was able to play to its advantage with spots for its recent hit “Conclave” airing in the final weeks of the 2024 election and ahead of the film’s late October release.

 

But the longterm viability of CNN and MSNBC for movie marketing remains in question as those networks are still trying to bring back liberal-minded viewers that turned off TV news after Donald Trump’s victory, and are still seeing historic lows in their audiences.

 

“There may need to be a total reevaluation of how you grab an audience in a nonlinear world,” Dergarabedian said.

 

Audiences set a higher bar

 

The goal now for “Black Bag” and “Novocaine” is to turn their largely positive audience word-of-mouth into sustained theatrical turnout, similar to what “Conclave” did when it opened to $6.6 million and legged out to a domestic total of $32.5 million.

 

A similar final total could be reached by both films, which would take “Novocaine” out of the red and give “Black Bag” a chance to reach break-even territory with help from overseas markets — it made $4.3 million from 37 markets this weekend — and premium on-demand rentals.

 

But again, these films would have to do so at a time when well-known IP is even more dominant at the box office than before, and when moviegoers are more selective than ever. The rise in per patron spending reported by top theater chains shows that the moviegoers that are showing up are willing to open their wallets for more than just a ticket, but the initial hurdle of convincing enough of the public to spend $15-$20 to see a film with a narrative and characters they aren’t already directly acquainted with is getting harder.

 

It’s also possible that streaming options may make certain types of non-IP theatrical films less attractive to moviegoers. Even if the similarities between the streaming title and the theatrical title are only in the broadest sense, that may be enough for some to stick with the at-home version of what is being offered, even when the theatrical offering has earned good marks from audiences and gushing praise from critics like “Black Bag.”

 

In the case of a British spy thriller like “Black Bag,” Netflix recently released its own British spy miniseries called “Black Doves,” which stars Keira Knightley as a spy-for-hire who leaks information gained through her marriage to Britain’s defense secretary and who finds herself in danger after another spy who was a former lover was killed. The series has been renewed for a second season and hit streaming two years after another Netflix espionage miniseries, “Treason,” starring Charlie Cox.

 

Then there’s Apple TV+’s “Slow Horses” starring Gary Oldman, which released its fourth season last fall with two more ordered. “Slow Horses” has enjoyed years of critical acclaim, and while it has significant tonal and plot differences from “Black Bag” — namely from Oldman as the rude, slovenly leader of a group of failed MI5 agents as opposed to the stylish, sleek performances of Fassbender and Blanchett — it’s still a way for those interested in English espionage to get their fix without leaving their homes.

 

“It may be reductive, but you can’t stop people from thinking about their entertainment options that way,” said Dergarabedian. “Even before the streaming boom we are in now, there were films like ‘The Man From U.N.C.L.E’ in 2015. That got pretty good reviews but bombed possibly because it seemed too similar to James Bond to audiences who hadn’t seen the TV show it was based on. Sometimes people pass on something despite the reviews because they think it is something they’ve seen before.”

 

Don’t give up

 

If Netflix and its streaming peers are pulling more genres out of “cinema-worthy” status in the eyes of audiences, it’s going to be even more of an uphill battle for exhibitors and studios to get the box office anywhere near what it once was.

 

We know from the last three years that tentpole films like “Wicked,” “Barbie” and “Top Gun: Maverick” can still reach incredible heights, but the secondary level of support that is historically provided by well-received, non-four-quadrant films like “Mickey 17,” “Novocaine” and “Black Bag” is still flagging.

 

That lower performance makes the slumps that have come in recent years when there are gaps in the tentpole release calendar even deeper, leading to a weekend like this past one where overall weekend totals reach $55 million, the lowest seen in a non-pandemic March in nearly 30 years.

 

Perhaps the only way out of the storm is through it. Three studio and exhibitor sources who spoke to TheWrap said that if there’s ever going to be a way out of the new-IP struggle, Hollywood has to be willing to keep putting out films like “Black Bag” and “Mickey 17” — to keep sending signals to a public that may not be aware that such offerings are on the big screen.

 

Yes, some of these films will not work even with positive reviews, but perhaps with enough of those films, a critical mass of moviegoers will find a film that wasn’t on their radar and which they enjoyed more than they expected, making them more willing to expand what kind of films they step out for.

 

“It’s tough because everyone’s trying to maximize the profit of each auditorium,” one theater owner told TheWrap. “But if we just shrug and say ‘Well, guess that kind of film doesn’t work,’ we get a self-fulfilling prophecy of just horror films and sequels taking up most of the calendar.”

[Nasok]

Rate of selectivity и 400 млн капитана Маки как соотносятся?

[Rorschach1988]

[кубышка]

26 минут назад, Rorschach1988 написал:

О, кэп скоро обгонит Черного Адама. Выходит, не получилось у Скалы изменить супергеройскую иерархию 

[Boroda4]

7 часов назад, DandyAndy написал:

Soderbergh’s Starry ‘Black Bag’ Dismal $7.5 Million Opening Is Hollywood’s IP Dilemma

А чего собственно удивляться? Продюсеры потеряли хватку

стриминги перекупили и закидали деньгами креативных ребят, что те думать перестали. Подают как откровение, а загнивание идей началось еще лет 5 назад

[DoomSmiler]

10 часов назад, Boroda4 написал:

А чего собственно удивляться? Продюсеры потеряли хватку

стриминги перекупили и закидали деньгами креативных ребят, что те думать перестали. Подают как откровение, а загнивание идей началось еще лет 5 назад

Да тут те же пассажи, что звучали ещё у Фритца в его The Big Picture 7 лет назад. Вот только с тех пор стриминг-контент тоже расслоился на своеобразные тентполы, типа того же Электрического штата или Ущелья, у которых и хайп, и ковровые дорожки, и у народа они на слуху пр., и остальные ноунейм-проекты, которые оказываются в забвении  в тот же момент, как они выходят. А вопрос с окупаемостью всё ещё остаётся открытым. Рано или поздно "успехи-где-то-там" должны закончиться.

[Prunea]

12 часов назад, Rorschach1988 написал:

усулу не показывайте 

[okami_]

Фигасе, я думала Бриджит Джонс сразу на стриминг отправилась везде, а тут она оказывается в международке целых 112 лямов успела собрать.

[Boroda4]

3 часа назад, okami_ написал:

Фигасе, я думала Бриджит Джонс сразу на стриминг отправилась везде, а тут она оказывается в международке целых 112 лямов успела собрать.

Только США не захотели выпускать, не видя в ромкомах больше кассового потенциала