Barnack

Kingsman 2 was 74% over 25. American made: 82% over 25 American Asssassin: 85% over 25 The number over 35 would be a better indicator here, specially for an R rated release 76% over 25 is not that specially old in 2017.

Was not just one studio too, but a production company spending their money on it helping Sony a lot for the financing and WB taking the domestic distribution, there is many project a bit or about has remarkable in a whole risk wise, Blade runner, Wolf of wall street, Silence, Cloud Atlas, etc... but they involved very long process to get the money and complex financing with many players (and some lot of shady money like Wolf), maybe MadMax Fury Road (specially if those over 200m rumors budget are true). For blade runner for example: Blade Runner 2049 cost a net $150 million to make, and was co-financed by Alcon and Sony (each committed to spend $90 million before rebates and tax incentives brought down the budget). Alcon owns the film; Sony will release it overseas and get a slice of the profits. Warners is handling the film domestically and will get a fee per its deal with Alcon. "We're confident Alcon has delivered another hit," Warner Bros. chairman-CEO Kevin Tsujihara says in a statement. Insiders say the movie will need to clear $400 million at the worldwide box office to be considered a win. Spending 90M before tax credit by Sony, is a nice move for a studio for sure, but they received a lot of help (and people do not like to praise anything they do or anything Rothman is involved, people talked about this more from WB angle when it is an independant made, Sony financed movie). What was special with mother!, was having just Paramount (and Darren company) logo when the movie started that is getting really rare now a day outside Disney projects, no question/notes, very fast greenlight process and the studio taking all the risk on a movie like that. Thinking about it, Sony can still be seen has more remarkable, even with the franchise sequel factor, 90m + intl P&A on a movie like that (that has a 150m budget) is a big deal.

Could be a bit like why Ninjago is not getting close to either (or Ted 2 box office), lot of the first one success was based on seeing a Lego movie on screen, after the first one that gimmick is rendered a bit useless and cannot bring people in. Also Batman humor did seem to target people with some knowledge of the batman universe, creating a resistance the Lego movie didn't had (everyone know Legos) and didn't share much with the Lego movie to take advantage of it.

I also thought as MMFR was one of the hardest project of recent time, thousand of people in the deserts, months in the deserts, making/bringing a small armada of vehicles, trying to develop a 3D camera that would both support the desert action movie condition and be small enough to enter by cars windows and failing at doing it, projects than went on for decades, 470 hours of footage to edits and so on, not seen Blade Runner yet but it would be really hard to make that look easy imo.

fanboys heavy, but deadline seem to show early very good word of mouth: ComScore/Screen Engine’s PostTrak showed glowing audience reactions: 21% of last night’s crowd said they’d watch the 163-minute movie again in theater, and the sequel hooked an 85% overall positive score. Guys under 25 who attended at 14% responded the best with an 89% overall positive. Men over 25, natch, were the dominant crowd at 56% and a 87% total positive score. Then there were females over 25 (20%, 80% positive) and females under 25 (10% of the crowd, 77% overall positive). Last night’s ticket buyers gave Blade Runner 2049 a shiny 66% overall definite recommend. Sixty-seven percent of Blade Runner 2049‘s crowd last night was walk-up business, while 16% bought their tickets in advance over the last week. I say seem because I am not use to look at those number much for comparable, but they use the word shiny to influence me.

Apparently: http://deadline.com/2017/10/ryan-gosling-blade-runner-2049-harrison-ford-opening-weekend-box-office-1202183063/ , while 16% bought their tickets in advance over the last week. I would imagine that Thursday night is the most heavy in pre-sales usually but 16% does seem significantly above average (electronic buy overall is around 13-14% I think, pre-sales in advance must be a smaller fraction than that) ?

Was not a bad idea, young audience are harder and harder to get in theater while the above 50 is booming: http://www.aarp.org/content/dam/aarp/research/surveys_statistics/life-leisure/2017/50plus-moviegoer-res-life.pdf https://www.theguardian.com/film/2016/jul/02/youth-focused-blockbusters-older-audiences-independent-films-arthouses And they have an appetite for big action movie that is not necessarily well answered by Hollywood (more than 50% of the audience for Jack Reacher, Equalizer, Tombstone, Taken 3 were over 50 year's old). It is also a segment were a big budget actionner would have less competition (to those huge 300m superheroes movies) Doing a major blockbuster franchise aiming at that audience, with old star they like seem like a good idea, now obviously the execution need to deliver.

Way before their release, I didn't saw why someone would be interest in Deadpoll but not John Wick and expected not too dissimilar box office......

The woman turned spy/seductress/assassin by force circumstance but she still like the lifestyle trope is a rather common one, La femme Nikita of Luc Besson is a big classic of the genre that share a lot of element, I am not sure how well known the Black Widow character is outside comicbook fans ?(not a big reference but I have no idea about her story line). Looking at the wikipedia page, one notable difference is Black widow is a 60s cold war fantasy spy (a bit like Salt was), Red Sparrow is a Vladimir Putin era more grounded in reality one with a list of difference that come with that.

With digital release being more and more the norm, does you have to pay for 4,000 locations more than for 3,500, or the more theater that accept to play your movie the better without adding necessarily much to the cost ? I would also be interest to a 10% (and not the 20 or 30) type of deal info, same for Paramount 8-9% on those marvel distribution, at those price I imagine the producer pay for all the P&A ? Because 10% of 53% of the box office is not a lot, even on a 150m gross, around 7.95m and a movie like this had a 30m+ domestic P&A.

Movies in general tend to be now and some of those used are R-rated/very old franchise like Blade Runner. Cinemascore/posttrack demo for the first weekend Apes: 64% over 25 Kingsman: 74% over 25 (the first one was just at 60% to show the strong tendancy) MadMax: 54% over the age of 35

Ah make sense, they would need to start the marketing soon and it is not the only movie to leave that weekend (Molly game did too), it is a crowded one.

Franchise, reserved sitting title, Sci-Fi all sound like variable that should make it at least pre-sales regular for a blockbuster or heavier.

Not so sure, I imagine Hollywood became a bit prudent about actor having one big success in the superheroes genre by now, I mean she accepted a supporting role in a Max Landis script movie (not a bad project, Cooper has the co-star, White God was a really well received movie, but not is follow up Jupiter Moon) but what were the offer she said no too if that was the best out there ? Studio are not making many movie these days (and many are sequel with roles already cast), studio female lead roles are even rarer. Jolie is still a big deal for a worldwide release in an obvious casting for her like this and was not so long ago in the 20m + 10% or more first dollar gross deal club, she is probably still above actor with one success in their filmography quote for a project like that.

Or Jolie simply didn't like were the script was (and studio exec after Mummy mess didn't disagree)...

I'm not really sure how much seriously we should take those publication about people net worth. You can find stuff like this talking about Johnny Depp net worth of 200 (even 400) million just before it became well know that he was in financial trouble and needing those Pirates paycheck to get in quick. And I really have an hard time believing figures like those: Movies Income Furious 7 $284,091 Fast & Furious 6 $162,338 Fast Five $138,581 Transformers: Dark of the Moon $126,263 Putting very precise number to make them look real is not a bad idea, but you do number like those if you are getting percentage, and if you are getting percentage from Fast 6-7 you are not making those amounts.... From the sony leak we know that someone like Kevin Kline made 350k for 7 week of work on Ricky and the Flash for example, Rose Byrne made 500k on Annie Those figure are way too low and contradict the paragraph just above saying: Gibson has been a staple in the franchise, even though he doesn’t necessarily have a major role. His first Furious film earned him a paycheck of $750,000, but he made between $3.0 million and $5.0 million in the later films.

I am not sure but almost certain, they didn't cast many Russian to play Russian, so I suppose that dialogue between Jeremy Irons, Lawrence, Rampling, Schoenaerts, etc... will be in English even if they are alone or 100% among Russian. Almost never happen if there is a large amount of non-English dialogue in a story to be with subtitle in Hollywood studio movie (no example come to mind).

Is money income really depend on that franchise, The Rock making a spin of put that in danger I imagine. Whining in public about it with barely readable social media post full of # and @ does not sound like a good strategy, but that seem to be becoming common (I think something similar is going on with the Sex and the City 3 projects), trying to put pressure into someone to do the project and accept conditions they do not want via social media....

They seem to do to many people (at least for people that go see movies in theater from time to time), nothing rational here, but not having the buzz and all the coverage of the theatrical release, having to wait for the movie to finally get release on dvd, etc.. do kind remove to the experience, even if it watching the movie at home. All the artificial way the industry give more value to a movie simply for being new vs an old one really work on me and most of it is removed by a Netflix only release, watching War Machine felt like watching a 2013 release you just heard of for the first time, not like a new movie.

I remember some of that (even too in is most pointed out Netflix being the factor, not race), I was talking about Netflix getting involved in the conversation part ? I do not remember them (even at the employee level) talking about it.

I think it is about people that want to act or were actors in the past, so yes I think it is something about this going on (maybe they are even "playing"). Look gorgeous, maybe even more than cafe society and the story seem more dynamic, will see this in theater for sure.

Should be close, but could be above. If you look at some recent thriller/suspense in the lower/mid production range / not much or IP in the domestic market: http://www.the-numbers.com/movies/genre/Thriller-or-Suspense cure for welness: 4.35m Triple 9: 6.1 secret in their eyes: 6.6m No escape: 8.1m Sleepless: 8.35m The gift: 11.8m Sicario (first wide weekend) : 12.1m bye bye man: 13.5m Money monster: 14.7m american made: 16.7m accountant: 24.7m I think doing around what the Gift did (11m) is possible for the snowman (but 8.5 is certainly in the possible range).

Space is the obvious destination to go to for the next one I imagine, but there is also combining the 2 big universals franchise has a possibility, Fast&Furious + Dinosaurs Jurassic World was so over the top ridiculous, that it made it look possible, have the military loose control of their GMO dinosaurs army and have the gang with cars they use for mission save the day with some soap opera grand twist.

It is a little bit, and yes it does seem like a solid concept hard to make a boring end product of, it is like a long training montage in some ways and those are almost always fun. http://tvtropes.org/pmwiki/pmwiki.php/Main/GroundhogDayLoop Run Lola Run was also quite fun, 50 first dates, sources code, edge of tomorrow like you said. Very confident Happy death day will be a big success, movie that have a nice trailer (and paid for a popular song), have a short proven high concept than fit in the title like those are the easiest to sell to an audience, add the popular genre to it also.... Could see an other The Accountant type of success happen here (but a more frontloaded one)

I am a bit ambivalent about that, I like in a way if Netflix was even more committed to is strategy (If I am hearing about something that Netflix has I can watch it, no teaser about a future release, no theatrical windows, etc....), don't bother me with something if I cannot watch it and do not start to not make every episode available right away either. That will cost them theater not wanting to play a movie that is available on Netflix, but I'm not sure that make it a dump business model/dump brand, not following the previous model made up/artificial complication on the audience is at the very base of Netflix business model and success. And it is fully normal for theater chain (and thus the academy/major portion of the industry that know what happen to the product value when your hurt that windows, for everything including the post-theater window), I am not sure anyone involved here is particularly dump, the Academy Award is for promoting theatrical product in spirit and written in is rules.