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After 6 or so years I've decided to step down from my Admin role on the forums. In 2020 I have found it hard to be on the forums enough to do a proper job of moderating and after much deliberation I decided it would be better if I stepped down. I'd like to personally and publicly thank @Shawn for the opportunities he has provided me. As someone who was not an active forum poster and pretty quiet in general it was a honor to be asked to join the staff. @Water Bottle you have always been supportive, especially when it came to my Derby requests and @Plain Old Tele - I modeled my moderation style after you. The forums lost a great resource when you stepped down from the staff. I won't attempt to mention all the members and staff that I've enjoyed interacting with over the years. It's been great. I just hope that some of the old-timers will return to posting more often. I do want to mention that the one thing I learned about moderating here is how important different views are in a social setting such as the BOT forums. I hope the forums continue to contain a diverse and tolerant attitude towards both movies and life in general. I'll still be around as much as I can so this is not goodbye and the Derby will continue to operate with @ChipDerby's help.

The movie will be screened in another festival, also in October Pixar’s ‘Soul’ Will Open Rome Film Festival

Japan Box Office: Weekend Estimates (09/19-20) (C)2020 Warner Bros Entertainment Inc. All Rights ReservedWeekend Estimates (09/19-20):01 (---) ¥340,000,000 ($3.2 million), 0, ¥465,000,000 ($4.4 million), Tenet (Warner Bros.) NEW02 (---) ¥275,000,000 ($2.6 million), 0, ¥400,000,000 ($3.8 million), Violet Evergarden: The Movie (Shochiku) NEW 03 (01) ¥186,000,000 ($1.8 million), -29%, ¥535,000,000 ($5.1 million), Crayon Shin-chan: Rakuga Kingdom and the Four Heroes (Toho) WK2 04 (02) ¥155,000,000 ($1.5 million), -24%, ¥1,745,000,000 ($16.5 million), Stigmatized Properties (Shochiku) WK4 05 (04) ¥102,000,000 ($970,000), -09%, ¥1,775,000,000 ($16.7 million), Tapestry (Toho) WK5 06 (08) ¥x85,000,000 ($810,000), +22%, ¥1,705,000,000 ($16.1 million), Fate/stay night: Heaven's Feel III - Spring Song (Aniplex) WK5 07 (03) ¥x78,000,000 ($740,000), -31%, ¥2,945,000,000 ($27.7 million), Doraemon: Nobita's New Dinosaur (Toho) WK7 08 (06) ¥x77,000,000 ($730,000), -23%, ¥375,000,000 ($3.5 million), The Cornered Mouse Dreams of Cheese (Phantom Film) WK2 09 (05) ¥x75,000,000 ($715,000), -31%, ¥390,000,000 ($3.7 million), Break the Silence: The Movie (Avex Pictures) WK2 10 (09) ¥x47,000,000 ($445,000), -27%, ¥5,160,000,000 ($48.5 million), From Today, It's My Turn! (Toho) WK10 11 (07) ¥x46,000,000 ($435,000), -43%, ¥235,000,000 ($2.2 million), Midway (Kino Films) WK2 12 (11) ¥x34,000,000 ($325,000), -28%, ¥3,560,000,000 ($33.1 million), The Confidence Man JP: Episode of the Princess (Toho) WK9 13 (10) ¥x33,000,000 ($315,000), -35%, ¥760,000,000 ($7.1 million), Onward (Disney) WK5Good weekend. I'm not really going to provide any analysis until Weekend Actuals are available this week. Consider the Weekend Estimates above to be rough, since the normal method of calculating them was thrown off going into the weekend after several chains moved from 50% capacity back to 100% capacity. >Tenet, according to Warner Bros. out-opened both Interstellar (no surprise) and Dunkirk, which appears accurate based on my estimates as well, although it's very close to Dunkirk and I expect their admissions were very similar, but Tenet probably has the edge in revenue due to more IMAX showings. Nolan's films are usually frontloaded due to the dedicated fanbase he has in the market, but this estimated start should get it above ¥2 billion (~$20 million) since legs should be a bit stronger this time. As long as it beats The Dark Knight Rises's ¥1.97 billion total, it'll become Nolan's second biggest film in the market, only behind Inception. >Violet Evergarden: The Movie settled for second place, but it delivered a strong second place debut (I even think it was #1 on Friday, at least in admissions). Its estimated opening is even more rough, however, since these types of animated films have varying average ticket prices. Whatever the number ends up being, it's a big success and should clear ¥1.5 billion (~$15 million). I also expanded the Top 10 a bit this weekend to keep better track of The Confidence Man JP: Episode of the Princess (since it's performed so well) and Onward (which hasn't performed well, but still has a slim shot of beating Brave at least).Monday and Tuesday were national holidays,

apparently not?

That right there exemplifies 2020. I think $300m WW for Tenet is a win all things considering. ———————— Vote Trump 2020

Just to throw my two cents out there, movie theaters are far from the only form of entertainment under siege. Let's take a quick look at some others (stats copied from various websites. All are available by searching): Bowling - In the US in the late 1970s, just over 9 million Americans belonged to bowling leagues. As of 2017-18 that number had declined to 1.34 million. At the peak of public interest, about 12,000 businesses offered bowling as an amenity. The average bowling alley had 8 lanes, and thousands of those locations were dive bars in rural America that had just 2 or 4 lanes. They are all gone. As of 2013 there were about 3,800 bowling alleys remaining in the US and the average location had 26 lanes. As of 2019 there were about 3,200 remaining alleys. This will become a recurring theme in my post. Bowling has changed, in many ways, but it endures as a niche activity enjoyed by a dedicated following. Alleys are larger now, are specialized instead of being tacked on to some other business model, and offer new innovation like UV lighting aka cosmic bowling, with loud music playing. Golf- Many credit Tiger Woods for creating a surge in interest in golf and expanding golf's demographics. At the peak in the early 2010s, of the 34,011 golf courses worldwide some 45% were located in the US. That put the number of domestic courses at about 16,000. This was the culmination of a 10+ year binge of course construction. In the year 2000 alone, $5.6 billion was spent on constructing new golf facilities. By the early-2010s investment had dwindled to about 200M a year. The building boom outlasted and overshot the growth boom, and very quickly it became apparent that not enough rounds of golf were being played to sustain the number of courses in existence. Courses started to close at an accelerating rate. By 2015 the number of operating courses was down to 15,300. There are presently 9,700 courses in the us, the majority of which are public. There is still an oversupply, as golf has now fallen out of favor in much the same light as bowling. Experts predict continued course attrition until a point of equilibrium is reached. American football- I won't get into the details, but there are equally clear signs that interest in football peaked years ago and is steadily declining. See this article. The decline is broad, deep and unmistakable. All facets of football have been impacted. Participation, attendance at games and viewership on TV. Other sports- What is true of football & the NFL holds true for other sports as well. The NBA, MLB, NASCAR and others, they are seeing declines in viewership and attendance. I think that's enough to drive the point home. As a society we entered a new era, especially over the last decade, where entertainment is more customized to the tastes of the individual. Movie theaters are not immune. We have seen a decline in attendance, and will continue to to lose some customers annually (pandemic aside). That isn't the end, though. Theaters will exist. There are a sufficient number of people who enjoy going to the movies to sustain the industry. We'll continue to see the business model evolve, with PLF / high end audio, in theater dining, and other innovations. Budgets for films may change. Movies will continue to be made, though, and people will go out to see them. This will not be changing in the near future.

SEPTEMBER 16TH-20TH WEEKEND. INDEPENDENCE DAY WEEKEND. TENET TOPS ON OPENING BUT FALLS BELOW DUNKIRK. NEW MUTANTS AND SCOOB KEEP HOLDING WELL. Tenet - Wednesday was obviously its biggest day but couldn't keep the pace for the weekend. Pure FSS frame was $10.7M which is not far off from New Mutant's $10.1M on its FSS first frame. - 5-Day is about half of Dunkirk's 4-Day opening in lc but 60% below in admissions. - Both Dunkirk and Inception had healthy runs in the market so hopefully this legs a bit better than New Mutants and won't be that far from Dunkirk's final gross. Between () is shown the figure for pure FSS. # MOVIE WEEKEND % CHANGE TOTAL (MXN) TOTAL (USD) ADM. TOTAL ADM. 1 Tenet $12.60 ($10.7) $17.40 $829K 173.9K 238.3K 2 New Mutants $6.10 ($5.3) -30.68% $35.30 $1.65 102.8K 576.9K 3 Scoob! $3.70 ($3.3) -11.90% $33.70 $1.58 67.4K 609.8K 4 Fantasy Island $1.30 ($1.1) -31.57% $11.80 $548K 22.5K 197.9K 5 Hasta que la Boda nos Separe $865.2K -49.10% $3.30 $156K 11.8K 46.5K 6 Cuidado con lo que Deseas $782.8K -21.72% $9.10 $419K 13.5K 159.3K 7 Donne Moi Des Ales $679.9K $875.9K $42K 11.6K 15K 8 Patients of a Saint $668.6K -12.81% $6.20 $279K 11.5K 115.9K 9 Spycies $622.4K -28.99% $1.90 $90K 11.6K 35.9K 10 The Hunt $442.6K -30.17% $9.50 $433K 7.6K 157.7K This Thursday opens: Trolls: World Tour, Break the Silence, El Club de los Idealistas and Sin Origen

Lol, did this thread really become a fanboy war based on nothing but a rumor from that Daniel guy?

it seem like the actual was adjusted as below. TUESDAY UPDATE, with actuals & more market detail: Christopher Nolan’s Tenet came in just a touch higher in the weekend actuals versus Sunday’s estimates, lifting to $25.3M from 54 overseas markets, per Warner Bros. That was good for a 35% drop in the holdovers (-29% if excluding China). The international box office cume through Sunday stood at $215M and worldwide at $251M, clearly powered by overseas where the pandemic has been better managed, despite some pockets of flare-ups. The Top 10 markets through Sunday are led by China ($60.5M), where cinema capacity will be increased to 75% this coming weekend ahead of what is poised to be a lucrative National Day holiday for local titles. Behind China on Tenet are: UK ($18.3M), France ($16.3M), Germany ($12.9M), Korea ($11.9M), Taiwan ($9.8M), Russia ($8.2M), Spain ($7.3M), Italy ($6.6M) and Australia ($6.5M).

I guess I never posted here. Looking back after a year I think I have to give it an A, just short of the +. I’m really, really glad that they made the time travel work logically — that’s a huge sticking point for me and I would have to dock it like a full letter grade if they had bungled it. I liked act 1 the most and act 3 the least, though act 3 has the most iconic moments for sure. Killing IW’s Thanos in the first couple dozen minutes was a ballsy surprise, but the movie kind of suffers for it later as 2014 Thanos is not as compelling an antagonist and didn’t even do the things that the heroes suffered from — e.g. “I don’t even know who you are.” Most of the characters get a good arc in terms of how they’ve dealt with grief over the time skip, though the aftermath of Black Widow’s death gets kind of rushed through. They didn’t really know what to do with Captain Marvel it seems — “I’m too powerful to be part of the main mission so I’ll just be offscreen doing shit in space” was not exactly a satisfying payoff to the IW stinger. Still, mostly very very good. Entertaining, emotional, well-paced despite the runtime.

Unhinged+Mutants vs current markets for Tenet could be really close, both probably headed for low 50s or so.

Brilliant. Cruise as Alt-Stark is brilliant. Set up for Tobey (and maybe even Andrew, the more the merrier) coming to Spiderman is all but done deal. Marvel is really reinventing itself with this move. I didn't care for Strange but now I'm super stoked for this. I also think that those cameos may not as as innocent as they look. Might be a trial balloon to see if there was interest to continue with the particular new actor in the old role. Like, if Cruise would commit and cameo went over well. He'll get a show stopping moment that gets people talking and all that jazz. Stay tuned.

The History of Amazing Box Office Stories Ladies and gentlemen sit back as I take you back through time. We'll be exploring the box office from the 70's until the present. We're going to look back at the films that made their mark on the box office decade by decade. I'm going to take you inside of the records, the milestones and the shocking feats that has captured our attention for the last 5 decades. Your favourite films will probably be on here but not every film will be mentioned. This is going to be a celebration of the films that not only set records, but the ones that shocked and thrilled us with what they did at the box office. We have a lot to cover and this will be done in five parts. So get ready as we examine the box office decade by decade. It will be a fun ride and hopefully something you enjoy. Now, keep in mind, my box office acumen really begins in the 70's so unfortunately I cannot go back further than that. Even more precise, my real knowledge starts after the 80's. But I'll do my best to make this interesting for all of you. Let's begin. The 70's started a new era of film making. The utopia type films of decades past began to give way to a meaner and more bleak type of film. You had film makers like Wes Craven and Tobe Hooper making films that focused on the gritty underbelly of American culture. They began to show that the world wasn't all sunshine and rainbows and that it was a mean and nasty place that could bring you to your knees. 1972 brought the 70's the first really big hits of the decade as Francis Ford Coppola's Mafia Crime opus, the Godfather gathered some of the biggest names of the film industry and clocking in at close to three hours, it shocked the world as it managed to gross 133 million in the US and a total of 245 million WW. The only other 1972 film that came close to 100 million was the Gene Hackman vehicle for 20th Century Fox called the Poseidon Adventure. This was an action adventure about a capsized ship. It was remade in 2006 to much less successful results. In 1972, the tenth highest grossing film was The Legend of Boggy Creek, which made 20 million. An interesting note is Deliverance finished fifth in 1972 with 46 million. This was the R rated film about weekend warriors going camping in the mountains and then getting stalked and eventually raped and (some) killed by a bunch of mountain men. This was the fifth highest grossing film of 1972. 1973 had a few interesting stories. The Sting was the highest grossing film of the year as it made an unheard of 156 million dollars. The film starred two eventual legends, Paul Newman and Robert Redford. This was a film about con men trying to con a mob boss out of his money. But the most interesting film of 1973 was the first horror movie to make 100 million at the box office and a film that to this day, more than 40 years later, is considered one of, if not the scariest film of all time. That being the Exorcist. This was also the first horror film to be nominated for best picture. After various rereleases, the Exorcist has made 440 million WW. It had an interesting release date, the day after Christmas. Initially released in just 26 theatres, the film took the nation by storm very quickly. The Exorcist set the box office a flame and to this day, it is still spoken about with reverence. The other big film of 1973 was George Lucas' coming of age, car enthusiast film, American Graffiti. It made 96 million dollars, but more importantly, film producer Alan Ladd liked it so much that he told George Lucas he would make any film George wanted to do. This would come in handy for George in 3 years. An interesting film to come in at number 7 was the X rated sex opus starring Marlon Brando called Last Tango in Paris. It grossed 36 million. 1974 was the year of the disaster film. 20th Century Fox and Warner Brothers teamed up to release The Towering Inferno. This was the first time two major Hollywood studios teamed up to produced a film. It was headlined by two of the biggest stars with Steve McQueen and Paul Newman. The film had dazzling special effects and audiences responded to it to the tune of 116 million dollars. The second disaster film to make bank in 73 was the Universal film Earthquake. It was lauded for its innovative sound and starred a well known cast with names like Charlton Heston, Walter Matthau and George Kennedy. It came in at number five with a shade under 80 million. The third top ten disaster was Airport 1975. For those of you who haven't seen it, if you have seen Airplane, the ZAZ production, it basically riffs on this film in many ways. But the most shocking film of the year and the one in at number one, was the Mel Brooks cowboy spoof, Blazing Saddles. This film also satirized racism in Hollywood and it starred Gene Wilder and Cleavon Little. It went on to gross 119 million to finish just ahead of Towering Inferno. Some notable films of 1974 was the sequel to the Godfather, which took a huge tumble but still finished sixth with 47 million. The Burt Reynolds prison football film, The Longest Yard, finished 9th with 43 million. Thus concludes the beginning of our journey through THoABOS. Coming up next, 1975, the year movies changed forever.

Salutations

So apparently that Investor Day date, despite being listed officially by the site that hosted the last one, is in fact not real. So who the hell knows when we're getting updates as to what may be moving where etc.

Godspeed Andy. Good luck with everything life throws at you.

Sorry that I'm holding you accountable for your actions, but you are not in the right here. Your language in the beginning post of this whole ordeal was this: "And the movie makes sense you just weren't paying attention." I'm sure you did not intend it to be malicious, but this is extremely condescending. It posits this elitist idea that it objectively makes sense. Film isn't objective and it paints the idea that people who didn't like it or thought it was convoluted are dumb or that they have a problem. Again, maybe not your intention, but still incredibly rude stuff whether you like it or not. And while I did single you out, I also singled out Tree and Dudalb for escalating things and making things worse. I didn't specifically target you. Hell, I @ed both of them. They are both far from perfect and have been called out for their actions. None of you are being treated any differently, nor should you be given special treatment for your actions over this. I'm sure you won't agree with what I'm saying here, and I'm sure you will complain about how I'm a terrible moderator over all this. And that's fine. But just remember one thing: you aren't required to post here. If you're not a fan of a website and how it runs, you can go somewhere else that's less strict. We aren't the only forum talking about box office, Nolan, or movies. Just a thought.

Okay. Moderation @Avatree @dudalb What mldardy was condescending and rude, and it's okay to argue against the man. But trying to be condescending and rude back does not make things better. Please be more respectful in the future.

This shit sounded lame for Flash and it sounds lame for this too.

I feel like I'm the only one on the internet who doesn't care about Zendaya.

Zendaya winning the Emmy when it wasn't even sure she'll get nominated is incredible . if anyone has HBO and can watch Euphoria, I think they should

And some people have to travel because of business;they really have no choice in the matter. Movies are 100% voluntary emtertaom,emt/ Some airline travel is essential;I can't think of a movie that is essential in that way.

The movie has been called "The Multiverse of Madness" since it was announced. Pretty sure the idea of alternate universes didnt just come up recently.

TENET now #1 today in Japan. From early looks I will say $1.9mn Sunday. $4.5mn 3 days Weekend. Possibly $7.5mn 5 days.

Analysis of change by district shows some tightening in the differences, with the two least attended districts per capita, North and South, being the two districts with by far the highest growth. Jerusalem district theatres screens seats admissions change in admissons change in admissons since 2006 population (M) admissions per capita pop growth 2006 3 16 2,900 688,889 0.87 0.79 2007 3 16 2,900 667,371 -3.12% -3.12% 0.89 0.75 2.21% 2008 4 18 3,366 741,220 11.07% 7.60% 0.91 0.81 2.36% 2009 4 16 3,197 787,574 6.25% 14.33% 0.92 0.85 1.52% 2010 4 16 3,197 828,905 5.25% 20.32% 0.95 0.88 2.26% 2011 4 16 3,197 684,396 -17.43% -0.65% 0.97 0.71 2.42% 2012 4 16 3,197 722,257 5.53% 4.84% 0.99 0.73 2.01% 2013 4 16 3,197 659,226 -8.73% -4.31% 1.01 0.65 2.13% 2014 5 23 4,689 1,222,195 85.40% 77.42% 1.03 1.18 2.56% 2015 4 33 5,552 1,396,734 14.28% 102.75% 1.06 1.32 2.30% 2016 4 33 5,543 1,530,397 9.57% 122.15% 1.08 1.41 2.39% 2017 4 33 5,558 1,565,916 2.32% 127.31% 1.11 1.41 2.36% 2018 4 33 5,561 1,455,710 -7.04% 111.31% 1.13 1.28 2.24% 2019 4 33 5,541 1,462,649 0.48% 112.32% 1.16 1.26 2.31% North district theatres screens seats admissions change in admissons change in admissons since 2006 population (M) admissions per capita pop growth 2006 3 12 1,824 200,424 1.20 0.17 2007 2 7 1,054 151,115 -24.60% -24.60% 1.22 0.12 1.55% 2008 3 8 1,276 134,920 -10.72% -32.68% 1.24 0.11 1.65% 2009 4 11 1,553 145,648 7.95% -27.33% 1.26 0.12 1.22% 2010 4 11 1,553 174,512 19.82% -12.93% 1.28 0.14 1.75% 2011 4 11 1,668 196,160 12.40% -2.13% 1.30 0.15 1.67% 2012 4 11 1,665 234,645 19.62% 17.07% 1.32 0.18 1.56% 2013 5 11 1,866 265,077 12.97% 32.26% 1.34 0.20 1.57% 2014 6 12 2,355 303,109 14.35% 51.23% 1.36 0.22 1.27% 2015 5 11 1,855 330,741 9.12% 65.02% 1.38 0.24 1.60% 2016 6 17 2,484 390,401 18.04% 94.79% 1.40 0.28 1.51% 2017 7 23 3,078 538,855 38.03% 168.86% 1.43 0.38 1.74% 2018 7 27 3,397 511,841 -5.01% 155.38% 1.45 0.35 1.57% 2019 6 20 2,670 569,800 11.32% 184.30% 1.47 0.39 1.47% Haifa district theatres screens seats admissions change in admissons change in admissons since 2006 population (M) admissions per capita pop growth 2006 8 42 6,195 768,960 0.86 0.89 2007 7 41 5,784 958,503 24.65% 24.65% 0.87 1.10 0.81% 2008 6 50 7,255 1,350,066 40.85% 75.57% 0.88 1.53 1.01% 2009 3 40 5,918 1,654,016 22.51% 115.10% 0.90 1.84 2.09% 2010 4 45 6,576 1,911,642 15.58% 148.60% 0.91 2.09 1.63% 2011 4 46 7,046 1,858,110 -2.80% 141.64% 0.93 2.01 1.37% 2012 3 40 5,918 1,947,816 4.83% 153.31% 0.94 2.07 1.46% 2013 3 40 5,918 2,172,290 11.52% 182.50% 0.95 2.28 1.37% 2014 3 41 6,265 2,224,198 2.39% 189.25% 0.97 2.30 1.55% 2015 3 41 6,265 2,391,015 7.50% 210.94% 0.98 2.44 1.51% 2016 4 58 7,737 2,704,945 13.13% 251.77% 1.00 2.71 1.53% 2017 5 70 9,562 3,119,801 15.34% 305.72% 1.01 3.08 1.77% 2018 5 70 9,562 2,914,492 -6.58% 279.02% 1.03 2.82 1.86% 2019 6 76 10,291 3,047,204 4.55% 296.28% 1.05 2.89 1.99% Centre district theatres screens seats admissions change in admissons change in admissons since 2006 population (M) admissions per capita pop growth 2006 17 104 15,985 2,002,608 1.69 1.18 2007 14 81 11,682 1,909,639 -4.64% -4.64% 1.73 1.10 2.35% 2008 14 83 11,598 1,907,573 -0.11% -4.75% 1.77 1.08 2.29% 2009 14 83 11,476 2,063,925 8.20% 3.06% 1.81 1.14 2.49% 2010 14 101 14,061 3,972,790 92.49% 98.38% 1.85 2.14 2.24% 2011 13 92 13,323 4,189,625 5.46% 109.21% 1.89 2.22 1.88% 2012 14 116 17,276 4,844,053 15.62% 141.89% 1.93 2.51 2.18% 2013 13 110 15,447 5,529,068 14.14% 176.09% 1.98 2.80 2.35% 2014 14 118 16,260 5,362,396 -3.01% 167.77% 2.02 2.65 2.44% 2015 14 115 15,740 6,179,151 15.23% 208.56% 2.07 2.98 2.32% 2016 18 146 21,017 6,737,471 9.04% 236.43% 2.12 3.18 2.14% 2017 16 138 19,167 7,418,284 10.10% 270.43% 2.16 3.44 1.97% 2018 15 127 18,067 6,690,717 -9.81% 234.10% 2.20 3.05 1.79% 2019 14 133 18,216 6,858,355 2.51% 242.47% 2.23 3.07 1.68% Tel Aviv district theatres screens seats admissions change in admissons change in admissons since 2006 population (M) admissions per capita pop growth 2006 20 105 19,106 4,832,136 1.20 4.02 2007 16 107 19,413 4,978,748 3.03% 3.03% 1.22 4.09 1.08% 2008 20 108 19,529 5,125,234 2.94% 6.07% 1.23 4.18 0.86% 2009 18 94 17,129 5,392,067 5.21% 11.59% 1.28 4.22 4.08% 2010 18 92 16,572 4,961,005 -7.99% 2.67% 1.29 3.86 0.62% 2011 18 92 16,224 4,693,978 -5.38% -2.86% 1.30 3.60 1.43% 2012 16 83 14,428 4,782,265 1.88% -1.03% 1.32 3.63 1.14% 2013 15 83 14,620 4,846,826 1.35% 0.30% 1.33 3.64 0.99% 2014 15 84 14,680 4,832,328 -0.30% 0.00% 1.35 3.58 1.40% 2015 14 84 15,033 4,745,597 -1.79% -1.79% 1.37 3.47 1.39% 2016 14 84 15,033 4,873,691 2.70% 0.86% 1.39 3.51 1.43% 2017 14 84 15,033 4,627,284 -5.06% -4.24% 1.41 3.29 1.30% 2018 13 81 14,636 4,161,748 -10.06% -13.87% 1.43 2.92 1.48% 2019 13 81 14,639 4,237,701 1.83% -12.30% 1.45 2.92 1.77% South district theatres screens seats admissions change in admissons change in admissons since 2006 population (M) admissions per capita pop growth 2006 8 34 6,203 538,827 1.02 0.53 2007 6 23 4,078 477,098 -11.46% -11.46% 1.04 0.46 1.62% 2008 7 33 5,289 478,548 0.30% -11.19% 1.05 0.45 1.56% 2009 7 33 5,292 637,610 33.24% 18.33% 1.08 0.59 2.90% 2010 6 29 4,441 858,257 34.61% 59.28% 1.11 0.78 2.09% 2011 6 29 4,495 840,268 -2.10% 55.94% 1.12 0.75 1.57% 2012 9 32 5,158 884,018 5.21% 64.06% 1.15 0.77 1.98% 2013 9 32 5,148 971,959 9.95% 80.38% 1.17 0.83 1.92% 2014 9 32 5,181 965,019 -0.71% 79.10% 1.19 0.81 2.03% 2015 10 33 5,657 1,081,843 12.11% 100.78% 1.22 0.89 2.11% 2016 10 51 8,839 1,307,056 20.82% 142.57% 1.24 1.05 2.19% 2017 10 54 8,868 1,453,117 11.17% 169.68% 1.27 1.14 2.24% 2018 9 53 8,710 1,374,143 -5.43% 155.02% 1.30 1.06 2.35% 2019 11 68 12,831 1,552,211 12.96% 188.07% 1.33 1.17 2.20%

If that was the reason they would not release so many big movies during the same holiday

Even if related that a bit of 2 different issues, like when airlines goes down after 9-11 or now that does not mean that Air travel stop in the next 10-15 year's, it shift ownership of those asset (and make Buffet a lot of money). All big cinema chains could declare bankruptcy and we could have movie theater more popular in 15 years than now, that a possible scenario, owned by restructured similar chain, new chain or movies studios/big money tech a la Apple/Amazon/Msft or a mix (say a population that has so much screen time at home that want to take a break for them but that phone dependency destroyed their other hobbies). Until the actual multiplex theater is physically transformed into something else it is not really a death one yet and unlike the one screen small one I imagine it is quite something to transform them in something else. The multiplex that already spent the money to go digital, a bit like airplanes are the type of asset that could change hands instead of shutting down.

TENET Day Date Daily To Date % +/- YD / LW* Daily in $ To Date in $ Day # Fri 04 Sep 2020 ¥60,533,500 ¥60,533,500 $8,849,900 $8,849,900 1 Sat 05 Sep 2020 ¥80,537,400 ¥141,070,900 33.05% $11,774,500 $20,624,400 2 Sun 06 Sep 2020 ¥64,152,200 ¥205,223,100 -20.34% $9,392,700 $30,017,100 3 Mon 07 Sep 2020 ¥23,866,100 ¥229,089,200 -62.80% $3,494,300 $33,511,400 4 Tue 08 Sep 2020 ¥19,425,400 ¥248,514,600 -18.61% $2,835,800 $36,347,200 5 Wed 09 Sep 2020 ¥16,102,200 ¥264,616,800 -17.11% $2,357,600 $38,704,800 6 Thu 10 Sep 2020 ¥14,514,300 ¥279,131,100 -9.86% $2,125,100 $40,829,900 7 Fri 11 Sep 2020 ¥14,105,000 ¥293,236,100 -2.82% -76.70% $2,065,200 $42,895,100 8 Sat 12 Sep 2020 ¥31,572,500 ¥324,808,600 123.84% -60.80% $4,622,600 $47,517,700 9 Sun 13 Sep 2020 ¥25,153,000 ¥349,961,600 -20.33% -60.79% $3,682,700 $51,200,400 10 Mon 14 Sep 2020 ¥7,966,100 ¥357,927,700 -68.33% -66.62% $1,169,800 $52,370,200 11 Tue 15 Sep 2020 ¥7,100,000 ¥365,027,700 -10.87% -63.45% $1,048,700 $53,418,900 12 Wed 16 Sep 2020 ¥7,000,000 ¥372,027,700 -1.41% -56.53% $1,035,500 $54,454,400 13 TENET is doing okay in 2nd week, not as bad as we were thinking in first weekend. 2nd week will be $14.7mn Approx. Expecting $6-7mn 3rd week and $3-4mn in 4th. Closing $65-69mn. Can beat Inception.

Rank Title WIR Weekend Total 1 Tenet 3 £1,233,090 £12,446,578 2 After We Collided 2 £442,661 £763,664 3 Break The Silence: The Movie 1 £249,996 £374,060 4 The New Mutants 2 £200,660 £1,101,989 5 Onward 28 £97,253 £7,068,168 6 The Broken Hearts Gallery 1 £87,568 £87,568 7 Petla 1 £85,020 £85,020 9 Unhinged 7 £61,855 £1,570,326 10 Trolls World Tour 23 £37,965 £810,838 11 Pinocchio 5 £34,016 £732,341 12 Les Miserables 2 £31,270 £121,066 13 The Roads Not Taken 1 £27,742 £27,742 14 Black Panther 135 £26,396 £50,720,275 15 Memories Of Murder 1 £18,799 £18,799 TENET 3rd Weekend 65% of Interstellar and total gross 78% Approx. Last week was 57% of Interstellar and was trailing 18% behind. Interstellar did 2.63x after its 3rd Weekend while Dunkirk did 4x. I think it will closer to Dunkirk. That will give it a shot at £17.5mn. 84% of Interstellar. I don't think that's bad by any measure.

https://kinobusiness.com/news/obzor-kassovykh-sborov-v-rossii-i-sng-za-uik-end-10-13-sentyabrya-2020-dovod-uverenno-operezhaet-mul/?fbclid=IwAR2pCL2LeV_uHOUJQcFuou3DO-dTCvNv_qL_ea9DzJVcG51zkYrNiSmC3Ek Over the past week, the work of cinemas resumed in 8 more regions of Russia. Now the film screening is carried out in 71 regions out of 85. 72% of cinemas and 76% of screens of the country work with certain restrictions. 8% of the weekend's box office was given by the cinemas of St. Petersburg that opened on Saturday. 73 707 sessions (+18.6 % over the last week) 1.24 mil tickets (+40 % over the last week) 382 mil rub (+ 41.6 % over the last week) Russian box office accounted for 89 % of the same weekend's box office exactly a year ago. 1. Tenet - 160 mil rub or 2.12 mil $ only 20 % drop, 432.9 mil rub or 5,77 mil $ in 11 days, Dunkirk`s final results (327.5 mil rub) were surpassed on Saturday 1.33 mil tickets - first post covid millionaire 2. Mulan - 135.8 mil rub or 1,79 mil $ OW Half of Dumbo's last year result, pirated copies clearly caused great damage 3. Break the Silence: The Movie - 22.1 mil rub or 0.29 mil $ Comparable to the previous film released last August. 4. The New Mutants - 17.9 mil rub or 0.23 mil $ and 62.3 mil rub or 0.83 mil $ in 11 days This is the fifth result on the international stage after France, Great Britain, Mexico and Spain. 5. Cosmoball - 13.1 mil rub or 0.17 mil $ and 95.2 mil rub or 1.27 mil $ in 18 days 6. Greenland - 12.7 mil rub or 0.16 mil $ and 127.2 mil rub or 1.72 mil $ in 18 days One of the pleasant surprises in the post-covid box office After We Collided scores 3.8 mil pre sales (2.5 mil rub in OD) in 35 hours before the first sessions are shown.

Monday 1. Tenet 20,356 4. NM 3,189 Tenet -32.1% compare to last week Monday KOBIS Presale 1. Mulan 9.3k 2. Tenet 8k ---------------------------------------- Tuesday 1. Tenet 19,313 4. NM 2,889 Tenet -32.3% compare to last week Tuesday KOBIS Presale 1. Mulan 12k 2. Tenet 11k ----------------------------------------- Wednesday 1. Tenet 21,613 (total:1,396,697) 5. NM 2,706 (total 58,244) -19% drop compare to last week wednesday KOBIS Presale 1. Mulan 18k 2. Tenent 12k cgv 02:20 mulan 6k tenet 2.9k

A bit weird for tenet, Sunday's was higher than Saturday in the past 2 weeks but this week was lower, 39% drop from last sunday 1 TENET 26/08/2020 GBR WARNER BROS ITALIA S.P.A. € 169.070 22.229 € 4.806.082 677.173 2 AFTER 2 (AFTER WE COLLIDED) 02/09/2020 USA 01 DISTRIBUTION € 115.332 15.479 € 3.558.209 515.164 3 BREAK THE SILENCE: THE MOVIE 10/09/2020 KOR NEXO DIGITAL S.P.A. € 75.212 6.052 € 381.863 30.466 4 NON ODIARE 10/09/2020 ITA NOTORIOUS PICT. S.P.A. € 38.819 6.188 € 117.766 19.169 5 THE NEW MUTANTS 02/09/2020 USA WALT DISNEY S.M.P. ITALIA € 28.720 4.281 € 456.753 69.451

UAE Weekend 10-12 September Mulan: 30,183 admits (-56%) / 104,528 cume ($500k 4 days weekend / $1.55mn cume) TENET: 11,788 (-47%) / 109,888 ($210K 4 days weekend / $1.7mn) The New Mutants: 10,688 ($190k 4 days weekend) Overall weekend 61,154 admits Mulan catching up TENET, that's sure. $2.5mn full run perhaps. TENET guess $2.25mn.

NM's sales is really horrible. 2~3% sold from its available seats for weekend. KOBIS Presale 1. Tenet 7k 2. Mulan 5.2k 7. NM 697 CGV Monday start tenet 2.7k NM 236

OW for Disney Princess Beauty & the Beast - $45M Alice sequel - $27M Cinderella - $25M Mulan - $23.2M Maleficent sequel - $22.8M Maleficent - $22.2M Aladdin - $18.8M

Denmark 04-10 September Weekly Admits Rank Title WIR Admits 1 Tenet 2 46,468 2 Vores mand i Amerika (dk) 4 26,642 3 Greenland 4 5,704 4 The New Mutants 1 5,238 5 Lassie kommer hjem 1 4,985 6 Wild Rose 7 4,501 7 Trolls på verdensturné 10 3,465 8 La belle époque 2 3,027 9 Fremad 27 1,904 10 Bølle på eventyr 9 1,627 TENET Week 0: 11,445 Week 1: 61,352 Week 2: 46,468 (-24.3%) Total: 119,265

TENET 2 Weeks Denmark: $2.3mn (119k admits) Sweden: $2mn (113k admits) Norway: $1.65mn (98k admits) Finland: $1.35mn (87k admits) Iceland: $0.16mn (15k admits) Total: $7.45mn (432k admits) Dunkirk: 996k admits Interstellar: 1040k admits Inception: 1800k admits TENET will most likely reach 800-850k admits i.e. $14mn Approx.

opened in Russia with $250k. Friday increased to $330k. Taiwan $90k Friday approx, down 75%

Also with TDK.....Nolan actually killed the hero's girlfriend. There was gasps in the theater when Rachel was blown to bits. That was the epitome of "shit just got real". It had been a long time since one of this big hero movies actually killed the female lead - and mid-movie! TDK was billed as "welcome to a world without rules" & when Rachel died, it all came true. The entire 2nd half of the film, you felt like truly anything could happen....it had been a while since that type of tension.

This was a really fun stroll down memory lane. Great job! In reading over it, I’m reminded of just how many great theatrical viewing experiences I had in 2008. I saw The Dark Knight twice on its first day, and the crowds had unreal energy; with all the hype leading up to its release, there was this shared sense that we were seeing something special. The opening day screening for Iron Man was also pretty wild, though it’s weird to think now that barely anyone stuck around for the post-credits scene (the friends I went with had no idea why I was insisting on sitting through the credits). And though I had totally forgotten that the head-in-ass scene was even a thing, reading about it in the Hancock write-up brought me right back to a sold out opening night audience totally losing its shit when that happened.

Sixteenth place would see the surprise smash hit Slumdog Millionaire. Dev Patel plays Jamal Malik, a poor Indian Muslim living in the slums of Mumbai. Malik appears as a contestant on India’s version of Who Wants to Be a Millionaire?, and finds himself answering each question correctly. While accused of cheating, Malik explains to the cops his life story and how his story allowed him to answer each question correctly. Based on the award-winning novel Q & A, Slumdog was written by Simon Beaufoy, who took part in three different research trips to India, interviewing some of the children living in India’s slums. This was a major influence in Slumdog’s writing, as Beaufoy tried to capture the imagination, energy, and community these children had with each other. Summer 2006 would see Beaufoy’s script get picked up by British production companies Celador and Film4 and both parties began courting Danny Boyle as director. Boyle wasn’t all that interested in a project based around Who Wants to Be a Millionaire?, but after learning Beaufoy wrote the script, whose film The Full Monty is one of Boyle’s favorite movies, the director committed himself to the project. Shooting was set to begin in 2007 in India, and it’s here where Loveleen Tandan enters the picture. Initially a casting director, Tandan suggested to Boyle and Beaufoy that the script needed pieces of Hindi to really sell the movie. This resulted in Boyle asking Tandan to write those moments of Hindi herself, taking up a third of the script. And just before shooting began, Boyle was so impressed with her work he decided Loveleen Tandan would serve as co-director on the project. Boyle and Tandan used Slumdog Millionaire as an attempt at an homage to Hindi cinema, with a big influence being the works from Salim-Javed. 1975’s Deewaar, 1998’s Satya, 2002’s Company, and 2007’s Black Friday were also influences here. One of the first casting choices for the game show host was actor Shahrukh Khan, who actually hosted India’s Who Wants to be a Millionaire? for a time. Khan rejected the casting call, believing it would give his audience the impression the game show he worked on was a fraud and he was a fraudulent host. Despite Slumdog’s success, he has shown no regrets in rejecting the call, but was still a fan of the film. Warner Independent Pictures acquired the domestic distribution rights for the film in August 2007, while Pathe saw the international rights, with Slumdog Millionaire all set to do great things for its 2008 release. But then, tragedy struck. Warner Independent was shut down in May 2008, with all their films being sent to Warner Bros. proper. Because Warner failed to see much commercial appeal here, Slumdog Millionaire was intended to go direct-to-video in the United States. However, August would later see Warner Bros. make a pact with Fox Searchlight. Both shared distribution of the film, with Searchlight buying 50% of Warner Bros.’ interest and taking care of the US distribution. Warner Bros. took charge of distribution overseas except in India, with Fox Star Studios in charge there, and Europe, where Pathe distributed. For Fox Searchlight, this would turn out to be one of the best things to ever happen to them. Slumdog Millionaire premiered at the Telluride and Toronto Film Festival, where it saw intense love from fest goers, earning the People’s Choice Awards at Toronto. This love would translate in rave reviews, gearing up for the film’s opening in 10 theaters on November 12. And it did rather well, earning $427,715 over five days. Sure enough, the film would continue its expansion, coming into 11th place on its second weekend, with about $947.8 thousand. Its sixth weekend, the weekend before Christmas, even saw the film in eighth place, earning about $3 million for a then $12 million cume. However, the real story was in the New Year, specifically when its awards went into play. The 66th Golden Globe Awards on January 11 saw Slumdog Millionaire earn all four of the awards it was nominated for, including Best Screenplay, Best Director, and Best Picture - Drama. Sure enough, with the following weekend being MLK weekend, Slumdog saw itself earn a 55% jump from its previous weekend, earning $7 million for the 4-day. Its cume by that point was $43.8 million. And then, the Oscar nominations were unveiled on Thursday, January 22. Slumdog Millionaire saw itself with 10 nominations. And alongside an expansion to over 1,450 theaters, those nominations really compelled people to check this film out. So despite this being after a holiday weekend, Slumdog found itself increasing almost 83% from last weekend, earning $10.7 million and landing itself in fifth place. It had earned $56.1 million at that point. And sure enough, Slumdog continued to pull in solid box office during the ramp up to the Oscars. And on that fateful night, February 22, it got crazy. After already earning $98.3 million before the ceremony, Slumdog Millionaire saw eight Oscar wins, including Best Director and Best Picture. This only continued Slumdog’s popularity at the multiplex, as the following weekend saw a 43% increase from the previous weekend, earning $12 million and hitting third place on the charts. It was at $115 million at that point in time. And with all that hype, Slumdog Millionaire earned $141.3 million domestically at the end of its run. Overseas was a similar story. The UK is where the film increased 47% on its second weekend, the biggest jump for a wide release in the region. And with its Oscar wins, Slumdog also saw massive increases across Europe. This also saw the third-biggest opening weekend for a Western release in India. Long story short, Slumdog Millionaire found itself $237.1 million overseas and $378.4 million worldwide. It’s honestly a fitting conclusion for a film about a poor teenager hitting it big and finding success. The film that was almost set to go direct-to-DVD managed to take the whole world by storm and be rewarded from several critics groups and award bodies. This film served as Fox Searchlight’s biggest film ever, put Dev Patel on the map, and was a strong feather in Danny Boyle’s cap. And while its reception in India was on the polarizing side, it just goes to show what you can do with a good concept and a strong director at the helm. Finally, we’ll end this lookback on 2008 with 23rd place, where we see the Ben Stiller comedy Tropic Thunder. This comedy stars a set of eccentric actors filming a Vietnam War movie. Ben Stiller plays a washed-up action star, Robert Downey Jr. a method actor, Jack Black a lowbrow comedy star and drug addict, Brandon T. Jackson a rapper, and Jay Baruchel a newcomer in the field. These big personalities make filming the movie a nightmare and months behind schedule, so the film’s director drops them in the middle of the jungle out of pure frustration. And so, the actors must use their own skills to work together and make it out of the jungle alive. This project first began in 1987, when Ben Stiller was shooting Empire of the Sun. Stiller wanted to make a film about the actors he met over the years. Specifically, the actors who become “self-important” after taking part in boot camps to prepare for war movies. Stiller and co-writer Justin Theroux used that idea to develop a spoof of Vietnam films like Apocalypse Now, Rambo, Platoon, Full Metal Jacket, and The Deer Hunter, among others. Theroux felt the script was an easy one to write, as people are much more aware about Hollywood politics and its inner workings thanks to celebrity blogs and industry magazines earning more prominence online. For the characters, Stiller wanted to make sure all of them felt larger than life as well as over-the-top. But perhaps the trickiest one to develop was Kirk Lazarus, played by Robert Downey, Jr. At the time, Downey was only given the character personality of a “method actor”, and had to build his idea from the ground up. This would see him settle on a jive-esque speech pattern and a deep ragged voice, which in turn allowed him and Stiller to create Kirk as a crazy Australian who is so obsessed with becoming his character he even alters his skin color to become Black. Russell Crowe, Daniel-Day Lewis, and Colin Farrell were all references. Downey had to have two hours of make-up application every day. Downey was of course nervous this role would be taken the wrong way. However, Stiller knew that this wasn’t done in malice, but rather to make fun of method actors. Kirk Lazurus went to these extremes for one movie, and this allowed Stiller to skewer the Jared Letos of the world who think they need to take themselves super seriously over their craft. To make sure this was considered tasteful, the film was screened to NAACP journalists, many of whom reacted positively to the character. Tom Cruise is one of the actors in the movie, and was set to appear as Stiller’s character’s agent. However, Cruise suggested there should be a studio head character, which led to the creation of Cruise’s new character, Les Grossman. For the role, Cruise was almost unrecognizable, donning a fatsuit, giant prosthetic hands, and a bald cap. Cruise’s appearance was intended to be a secret, and Paramount refused to show him in any promotional media. However, images of his appearance emerged from paparazzi sites, in yet another instance of the media ruining things for everybody else. Paramount went all out here in terms of its promotion, knowing that they had a winner on their hands. Sketches on American Idol and the MTV Movie Awards, military screenings, a making-off spoof on E! True Hollywood Story. Yet the most creative was a series of websites promoting some faux films. The film showcases trailers for films starring the main characters. Ben Stiller in an over-the-top action movie, Jack Black in a fart-themed comedy, Robert Downey Jr. in a dramatic title. Paramount/Dreamworks’ promo teams created these websites as a way to drum up hype and give a stronger background to the characters they created. A Heart of Darkness parody titled Rain of Madness was also released two weeks into the film’s run to keep positive buzz going. And boy was that buzz positive. After a premiere at San Diego Comic-Con, Tropic Thunder released on August 13, a similar strategy to films like 40-Year-Old Virgin or Superbad. The film had found itself into a bit of controversy, as Stiller’s character appearance in the film Simple Jack, a spoof of Oscar bait where Stiller goes “full r**ard”, was considered offensive and demeaning by disability advocates. Some have defended the film upon seeing it, but in many ways, this helped keep the film in the conversation and bolster ticket sales, as people had to see the movie for themselves. It opened to #1, dethroning The Dark Knight, with a $36.8 million 5-day weekend. And with zero competition and solid reviews, Tropic Thunder stayed at number one for the next two weekends, ending its run at $110.5 million domestically. It saw $195.7 million worldwide, becoming Stiller’s most successful film as a director. It just goes to show with the right premise, comedy, and marketing, you can do something amazing when it comes to your rewards. This also served as another role that cemented Downey Jr.’s return to the A-List. Iron Man gave him a new franchise, while Tropic Thunder was a chance to show his comedic chops. And he was greatly rewarded for it, earning an Oscar, Golden Globe, and BAFTA nomination for his role as Kirk Lazarus. It’s a true underdog story and it was clearly deserving for such a talent. A spin-off based on Cruise’s character had been mentioned since its release, but nothing has been mentioned since 2012. And that’s only a sample of what 2008 had in store that year. Outside of the big stories, Sex and the City went to the big screen to great success. Marley & Me made men cry. The Incredible Hulk was Marvel’s only dud. Wanted showcased the POWAH of Angelina Jolie and James McAvoy. Get Smart returned to solid success. Four Christmases saw the biggest Thanksgiving debut for a live-action film. Benjamin Button boasted incredible aging VFX. Bolt was Lasseter's first true attempt at reinvigorating Disney Animation. Journey to the Center of the Earth boasted digital 3D before it was cool. The Mummy: Tomb of the Dragon Emperor was a sequel nobody cared about. Will Ferrell and Adam Sandler both saw comedies barely cross $100 million. Beverly Hills Chihuahua is a movie we all let happen for some reason. High School Musical was taken to the big screen to great effect. Pineapple Express continued Seth Rogen’s rise. Doug Liman gave us the glory that is Jumper. Cloverfield shrouded itself in mystery. Keanu brought back The Day the Earth Stood Still to mixed results. Hellboy II had the unluckiest release date in film history. Hannah Montana and Miley Cyrus: The Best of Both Worlds Concert saw the biggest Super Bowl opening ever. Australia tried to epicify the region to mixed results. Speed Racer became an epic bomb, but a success story in our hearts. Three garbage spoof movies came out in one year. Fireproof sold itself to faith communities, a potentially lucrative market for the future. And lastly, Space Chimps...came out I guess. This was 2008.

What's funny? And what sucking? It is common for any film to thank government of the region they shot the film. Since you are from India, you may know what a jerk Yogi Adityanath is and Bollywood liberals like Anubhav Sinha have been vocally against BJP but in all his films you will read "Thank You CM Yogi Adityanath" because that's what is done for any film shot in UP.

So I'm really going to be the only one brave enough here to say that I did not like this movie one single bit. The sound mix is definitely a problem, so much so that this film actually needed subtitles. I literally could not understand probably a quarter of the movie and the scene when they were on those motorized sailboats and they are wearing black helmets, you couldn't understand a freaking word these guys are saying. The plot seemed way too ambitious way to mumbo-jumbo and I just didn't really understand what a lot of it meant. There's way too much exposition and in between some of the inception like action scenes it's just a bunch of people talking about things that don't really make a lot of sense. now you guys can get on your soapbox and tell me that I didn't understand the movie and that's why I didn't like it. And I agree with you to a point. But I shouldn't have to go into a movie and analyze every freaking scene in order to get enjoyment out of it. If you guys say you really enjoyed it and you really loved it then more power to you. Me, I didn't like this really at all right from the get-go. 6/10

Box Office Pro: The film simultaneously opened in 10 material territories overseas––including France, Spain, and previews in the U.K.––adding another $2.9 million to the global haul for a $9.9 million worldwide cume. It finished fourth in France after taking in $1.5 million since opening on Wednesday. Over 90 percent of the French market is currently open and operating at restricted admissions capacity. New Mutants also earned $500k in a third place finish in Spain, where it also opened on Wednesday. Disney cites an 80 percent market capacity in the country, which is also operating at a reduced admissions capacity. The film will expand to 20 additional overseas territories next weekend, including Australia, Italy, Mexico, Russia, and the United Kingdom.

Yes. /thread