Barnack

As for theater refund, if the projection was correctly made they are obviously not obligated (legally or morally) to reimburse or give a voucher to anyone, it is the viewer responsability and in 2017 information about a movie was abondent. That said not necessarily a bad business decision to do it.

They are, Disney pay a fortune for the show and they just acquired a large debt. But I imagine the voters are not, they do not benefit from those ratings, it is not like the Globe I doubt voters have the show rating in mind when they votes. And they made that extremely obvious in récents year's, going all whites nominees after the oscarsowhite #campaign, not putting Dark Knight or Force Awaken and many others popular stuff anywhere, it look like most simply vote their top 5, not liking being told what to do or not caring at all.

Outside best picture winners, really hard to convince distributor/theater chain yes, almost no movie outside BP winners that opened wide before October made any money post oscar night.

They probably thought that by opening wide that it would generate a lot of reactions, and would give the ability for people curious about those reaction to be able to see it right away (because week after it would be too late, it would not sustain those), not a bad hail mary choice to be honest. No strategy would have had a safer probably to work than this probably, once movie like are estimated to have no award season platform release possible, studio do not know what to do with them for a reason, there is almost no place for a small first wide weekend to grow into something in today world.

Except for not being Russian, why is she miscast ? She fit the character from the books really well imo, an obvious choice even. Director do not inspire any confidence for this to be great, but inspire confidence to turn out decent.

Lower than Crimson peak (833k), a little bit above the Witches (630k), so not good but still in line for the 9.8-10m opening predicted, I imagine everything was bad other than IT thursday, it was still a really strong movie going option specially at those hours. Crimson Peak opened at 13.1m, the witch at 8.8m.

But did you miss all the time director (clearly warned people many time)/cast/junket interview/reviews that clearly said that it was not your conventional surreal horror movie at all ?

It still did 100m more than the previous really big Europeen indie movie Cloud Atlas (could be forgetting one between those), that is true.

A really do not know anything about that fandom and the show, but It is R, everyone can see it accompanied. and Teen wolf started in 2011, everyone that was 11 or more when it started can buy a ticket now.

Keep that secret (or keep it an option to ADR some of it in test screening) look almost like a strategy by now, every demo to distributor was without any talking also I think. Such a strange Hollywood think, to have foreign language speech people talking to each other in English but with an accent.........

I agree could have been only one movie for example, but also Francis Lawrence rush the production of a giant 10 month production while doing post-production on Catching Fire, just too much, pre-production that were you can control and do a lot of stuff, everything production design wise was really boring in those 2 final movies. Would have had time, maybe he would achieved is usual acceptable/do the studio job output he tend to be able to do.

Not sure those production made between 2003 and 2009 was during arguably the most profitable era in Hollywood history and had more money for producing movies (well those type of movie at least). Apparently Brook got 10m for the directing fee of How do You know (a movie that went above 110m in production cost that how much money studio had and were spending during that time) Brooks is a legend and all that, but not that different from Meyer commercial success track record in directed movie (well yes, but not pass the 80s) Writing fee should above 1m, producing cannot be 500k cannot imagine Meyer being paid 3.5m for directing in her peak or there was really something going on in pay gap behind the camera.

Maybe she was back end deal heavy (and sure her movies would be successful making the salary in advance a bit irrelevant), but that is really hard to believe that she was getting so little, look at how big the studio budget her rom-com movies were getting (70-80-85m), someone producing-writing-directing those was getting nearly if not over 10M for those 3 roles imo to make those budget goes that high, those were above the lines heavy cost. Meyers track record is one of the best ever commercially. I mean: Worldwide (Unadjusted) Rank Title (click to view) Studio Worldwide Domestic / % Overseas / % Year 1 What Women Want Par. $374.1 $182.8 48.9% $191.3 51.1% 2000 2 Something's Gotta Give Sony $266.7 $124.7 46.8% $142.0 53.2% 2003 3 It's Complicated Uni. $219.1 $112.7 51.5% $106.4 48.5% 2009 4 The Holiday Sony $205.1 $63.2 30.8% $141.9 69.2% 2006 5 The Intern WB $194.6 $75.8 38.9% $118.8 61.1% 2015 6 The Parent Trap BV $92.1 $66.3 72% $25.8 28% 1998 Parent Trap is the only below 200m and was a small 15m budget. Her averages is better than even Tarantino. A Paul Feig got much more than that for a comedy (writing-comedy-producing fee), without half of that track record.

Such a wasted opportunity, surely event movie like that are full of people that never go in theater anyway and cannot be attracted to go to a non-even film, but still it was over 10 million people in theater, the best way to watch a trailer.

Not sure about Hollywood or "cast" really work here, look to me something Robbie did and cast herself in the role of the movie she made happen.

And a late embargo for the reviews.. (and this is not a WB release) I'm not sure how valid those book sales list are, but Jack Reacher is probably a bigger phenomenon right ? It was such a big franchise than casting Cruise made some controversy, being different than the character in the books and all. https://en.wikipedia.org/wiki/List_of_best-selling_books Around 60 million copies (on 22 novel + 11 shorts stories), JR is a massive massive book franchise (not Life of Pi/Girl on a train/fault in our star/Dan Brown level but still an real established large fan base affair). That, Cruise being a bigger draw at the time, the movie looking like it will be bad, made it hard to believe that it could pull a 80m domestic like Jack Reacher did competing with IT legs. Half of that, around 40-45m seem more likely imo, beating Atomic Blonde should not be easy and that did 51m.

I have no idea of Obrien fanbase size could be lot of it, but I imagine release date also matter here, they are doing the final push right now, I imagine Kingsman last week before release will be bigger than AA last week before release. A lot of those conversation must come from junket material coming out on every internet platform right now for AA, like for mothers! (but they didn't got Fox news talking about them as much I imagine). Kingmans is doing much better in trailers views and so on: http://www.boxofficereport.com/trailerviews/trailerviews.html

When I suggested that it should pick up because of the festival on American assassin I thought it could get around the same or a bit above, but not tripling it and going over Thor/Star wars...., that amount of online presence must certainly make the festival expenses more than worth it for the studio, would have cost a fortune to manufacture, but would it be worth it to make up for being in IT legs too.......will depends of the market I guess.

I wonder sometime how much we give credits to the studio for stuff made by third party firm hired by all of them, say like the Suicide Squad trailer mega success, WB or more the firm hired to make it ?

Birth of a Nation did the same, take FSL lower offer over Netflix (in hindsight for that movie I could imagine some of them regretting not going with quiet streaming platform route instead of the extremely noisy, high click-bait theatrical/award season one).

The blind buy option must have went away the minute it played to buyers, the rumors are the CBS offer went down to 2M once the movie went on open sales.

Like Tulip Fever.

I would think so yes (I doubt they put 90s, early 2000s movie in there for example), I would guess more similar release date/pattern can also be used in their model. They run the last year newest release in it, and check how well the model predicted them.

If I understand correctly, the models are upgraded all the time, they are empirically built over the bank of comparable that is added for every movie that was tracked after they open. Every new movie influence the tracking of future release.

If you google a publication + RT or MC you will find their profile if they have one with all their reviews (and sometime they will have a profile saying that they are not RT reviewers, etc...). https://www.rottentomatoes.com/source-2305/ http://www.metacritic.com/publication/the-film-stage https://thefilmstage.com/reviews/mother-review-darren-aronofsky-jennifer-lawrence-tiff/ The ideas may be big, but Aronofsky’s brain is still as small as it’s always been, leaving mother! as an exercise in watching someone drive their one, ridiculous idea straight off the tallest cliff imaginable. It’s one of the most insane things to grace multiplex screens in years; it’s also one of the most ludicrous. Not the worst review to get, if you are to fall down may as well be from the tallest cliff with the most insane thing.