Barnack

From memory the last one didn't had the fun of being particularly bad, it was just mediocre (below mediocre for a big budget director/material affair)

Nolan is getting 20% of what WB is getting (after some correction), not gross sales (can you imagine getting 20% of China gross box office.... you would be getting 6-7 time more money than the studio if there is any left for them).

Gym and bowling alley does not have a specific time when everyone want to get in or out as well, making it much easier for some aspect of social distancing than movie theater

Isn't even the case often today that individual country performance on mojo are shaky even when the total that do come from the studio is closer to the truth, I would imagine that to be very common for early 2000s title.

This was my first issue with the : “seventy years of technological innovation, new competitors and business models How much of the competition (TV/Streaming/etc...) do the majors studio (or those who own them) have a hand on them ? That could be true: Because changes in antitrust law and administration have diminished the importance of the Decrees’ restrictions, while still providing protections that will keep the probability of future violations low, the Court finds that termination of the Decrees is in the public interest But considering the very next sentence talk about a 2 year's extension for 2 of the majors reason of the paramount decree do not inspire any confidence to be the case, that and the fact that never before the world has seen a monopole like the current google/facebook has on digital ads revenues and seem to not go against the antitrust law.

Looking at this: https://www.boxofficemojo.com/year/2020/?area=CN&grossesOption=totalGrosses I thought why life is beautiful opening higher than Interstellar went unnoticed...... oh Jan 3 release. Still nice numbers for a 90s movie.

With the success of Strangers Things/Stephen King It and how strong Gen X nostalgia presence is in current pop culture i am not sure how much the joke work (or the Goonies right now in drive in).

Except if I use Disney+ on my Amazon/Apple/Roku device to make the transaction I imagine, back in the days Roku was keeping 30% of the transaction made on is platform, it was down to around 20%: https://www.fool.com/investing/2017/09/08/how-roku-makes-its-money.aspx Apple famously was keeping 30% of the transaction on is stores, the giants like Netflix and Disney get much better deal obviously, but I am not sure it it is free, specially if the transaction can be made and is made in app and considering very few will buy movies from their computer web browser it will be about all of them. Those deal are rarely public but those wars: https://techcrunch.com/2020/04/01/in-a-significant-change-apple-customers-can-now-buy-or-rent-titles-directly-in-the-prime-video-app/ (or with HBO max right now) or the absence of those are probably not without reason, either letting the platform push ads on your streaming apps or money. Has for implementing a system of VOD on your SVOD, that sound reasonable that once it is there why not use it and that it would be an hard push to create all that in place and confuse consumer about what Disney+ is for only a one time event. Considering how low price Disney+ is and how big DIsney movie are I could see all the Marvel/Star Wars type having a first week or couple of weeks on Disney+ at a certain buy in price of say $4.99 before being included and watchable with you regular subscription fee.

I would imagine that make it quite simpler to simply re-use it (I can see the producing house owning the work you made when paid by them and still having recourse in some case, but not willing to go over the same person industry PR wise and without an angry composer that got is work stolen motivating them to do so)

Sometime you can know (if for example the movie was edited using that previous score has the temp score for that scene and the director/editor/producer got attached to the feel-timing), then the composer can be in a situation that is job is changing the temp score enough to not get sued.

how frequent it is to release an album without any single prior to be able to do such thing ? i.e. Did a song like Hello didn't start number one and then the album start number one as well and the only trivia is a timing question ?

I would not have too much expectation for that giant of a re-release in general but specially in the current context.

If the per show has a bit of the same than a domestic logic, it would be really misleading to compare very large release per show to smaller one. But that exactly what I mean, it is all based with a supposed impact of seating restriction, delay and so on..... Until we have an actual other strong release to compare it with, it does seem hard to tell, except for the going flat part that could indicate strong word of mouth (or simply that the numbers mean nothing because they sature so fast and it made an kind of maximum).

That would be extremely surprising for it to not be the case for a significant part of them (those with kids for who it is a somewhat big deals to go out), and specially for those for who it mean it may be up for free on their android box in a few days. For a certain type of those low and mid budget, like say "teen" horror, the only concern would be piracy because I really doubt they would pay $20 for a rental yes.

I am not sure how do we know that a 5 million OW is doing particularly well or not ? Being the original question, that seem guessing, because if not of COVID that will be bombing in China no ? And with no reference to work with, outside a tiny niche movie (that didn't do close to Dolittle anywhere) that did more than half of that (and at 20% of the cost if the first one is doing well the second one is doing very well). This doing well or not is all relative to what it would mean to do well with only 40% of the theater open and so on, something I am not sure we have much of an idea yet.

That an ongoing franchise with twice the budget and Donnie Yen. Has any small SH (almost independent type of production at that point) affair a la BloodShot ever worked in China ? That how different of projects we are talking about, Bloodshot $70m dom would have been a big success story.

That a little Sony movie that would not made necessarily 40M dom without the coronavirus versus a 200 million extravagant.

Isn't it the only blockbuster playing (outside old titles) ? Hard to compare

If weed power is code for cocaine.

I am not sure if it ever lived much since the pandemy, it is probably goes to the top when the more of the moment newer release that goes over calm down.

Apparently it was (maybe among them) special Imax screening for Imax employees.

Probably I misunderstood the coverage of that news was really unclear (because of sensational title), the previous deal I am talking about the studio had the right to release the movie on home media 17 days after the movie reached down 300 theaters, quite different than after 17 days in absolute term, smaller you ask for the window the more you need to give back. Here it is clearer: https://www.iphoneincanada.ca/news/paramount-to-bring-theater-movies-to-on-demand-early/ At least for less in trouble theater chain, they will ask for the pie to be much more than that.

When they tried in 2015 it was between 2 to 4% from the different source of revenues, apparently, it is not necessarily bad money for 0 work and 0 expense, how much they got in % of the movie ticket sales could be different as well when they agree to continue to play it. Considering more healthy theater chain is saying the deal seem to make no sense for them and how close to bankruptcy they are, I am not sure AMC have a lot of power to make studio bend backwards.

The wall street analysts is saying otherwise, it should be higher margin, it could very well be less than 5% of the sales going to NATO and I do not know for PVOD model but on EST studio was getting back giant proportions of the sales: https://variety.com/2013/biz/news/dvd-sales-decline-effect-studios-1200600256/ Still, the margin on EST is so much greater than on its digital counterparts that studios can’t ignore it. At an investor’s day earlier this year, Time Warner disclosed that HD EST contributed $17.50 per transaction — $14 more than what VOD gets, and $16 more than SVOD. Now for sure if many are watching it should be less money. Small independant can have revenues sharing deal with the Itunes and the world and giving away large %, but major studio should get away with low % for high priced affair, there is a lot of competition right now (and sometime the studio own the cable box selling them).

Depend what you call stream, VOD-rental and finally stream windows should be unchanged by this, at least at first. This will not use profits, it will point on gross revenues.