Barnack

It will be the end of an era, the era of counting the virtual billy Avatar 2 will do, enter the era how much would it have done without COVID, China issues and so on, counter balanced by showing how strong like in 2009 the US dollars was on release.

Scream was a 6 millions opener in 1,400 theater you can find large multiplier still today in that context, Titanic opened in 2,600 theater in the context that a James Bond movie would in 2,800. Was it still common for movie starting fully wide ? Non sequel original giant success, Liar liar, Men In black and other huge success did not do 10x, excellent 5-6x, Jerry Mcguire did 8.8x has an holiday release.

That a misunderstanding of the pre-vhs era, virtually all sequels (that were not sitcom like) dropped a lot back then the question was by how much. Even when VHS had started, Back to the future sequel dropped, Indiana Jones sequel dropped, Rocky 2, Empire strike back You can argue that it dropped too much, but dropping was almost obligatory back ten. I feel with how well nostalgia title revival did (Jurassic, Top Gun, Creed etc...) with how much of a giant cultural 90s touchstone it is, Keanu recent success all around and buzz, the nice Christmas release date, Matrix Resurrections end this subject, it is the very clear answer. Specially that the incredible low movie quality was pushing the flop of an easy lay-up. Spider man doing nearly 2 billions at the same time removing all notion that a giant franchise movie could not have done well and other possible *, Kings Man and West Side story did exactly the same domestic and even for those it was huge disappointment.

Maybe one day they would rebrand their Starz service https://en.wikipedia.org/wiki/Starz_Inc. Starz on canada is on Crave for example, Amazon Video or APple TV channel has it, MoviePlex is on Hulu, would probably stay like that for a while or forever

In my market (could have been special tuesday being special) I was surprised by how little to none there was when I saw Top Gun. https://www.the-numbers.com/market/ Year Tickets Sold Total Box Office Total Inflation Adjusted Box Office Average Ticket Price 2022 782,360,723 $7,174,247,829 $7,174,247,829 $9.17 2021 492,104,980 $4,512,603,979 $4,512,604,085 $9.17 2020 221,762,724 $2,033,566,047 $2,033,566,047 $9.17 2019 1,228,763,382 $11,255,475,182 $11,267,760,303 $9.16 2018 1,311,300,934 $11,945,954,034 $12,024,629,572 $9.11 Average price went down since 2019 (a steady price that just follow inflation would be around $10.40) It could be that proportion of ticket that come from the most expensive New-York type market is down too and that price rised everywhere but that the percentage of rural sales is up. Or that the-numbers figure are wrong.

Or any access to non heavily temporal compressed movie, it is obviously subjective and I imagine many prefer alone to a nice crowd engaged to the movie (or think they do) The popularity of some genre like horror with theatrical, do show that for many cinemas is still about the communal experience and even if it is less and less a thing in general, a really safe and easy choice for a first date (has you do not have to speak much or rely on the other for entertainment)

8th grade: Domestic Box Office $13,539,710 Details International Box Office $808,310 Details Worldwide Box Office $14,348,020 Uncut Gems (2019) dbo: 50 millions no intl release Lady Bird (2017) Domestic Box Office $48,958,273 Details International Box Office $29,986,725 Details Worldwide Box Office $78,944,998 Hereditary (2018) Domestic Box Office $44,069,456 Details International Box Office $37,194,033 Details Worldwide Box Office $81,263,489 Ex Machina Domestic Box Office $25,440,971 Details International Box Office $12,917,421 Details Worldwide Box Office $38,358,392 Midsommar Domestic Box Office $27,426,363 Details International Box Office $19,404,461 Details Worldwide Box Office $46,830,824 The witch Domestic Box Office $25,138,705 Details International Box Office $15,300,269 Details Worldwide Box Office $40,438,974 The Disaster Artist (2017) Domestic Box Office $21,120,616 Details International Box Office $7,597,051 Details Worldwide Box Office $28,717,667 The farewell(2019) Domestic Box Office $17,700,478 Details International Box Office $4,800,209 Details Worldwide Box Office $22,500,687 The Green Knight Domestic Box Office $17,173,321 Details International Box Office $1,696,639 Details Worldwide Box Office $18,869,960 It comes at night Domestic Box Office $13,985,117 Details International Box Office $5,735,086 Details Worldwide Box Office $19,720,203 Movie with oscar attention like The Room/Moonlight achieved to go over 50% intl, but otherwise A24 seem to do better where they distribute themselve in the USA that the rest of the world when it is handled by a collection of distributor. Some of the above where more for American audience target, some had Netflix exclusive (green knight), too, but I could imagine quality of distribution not being equal domestic vs many markets.

Did you thought because it was almost impossible that it was not a bluff and a ridicule claim that a organisation could solve the problem of world hunger in the 22th century only if they had a one off 6 billion dollar check ?

? Do you disagree with anything that you quoted or....

2022 and still the really weird: That reality means the film has a lot of ground to make up internationally. Box office experts estimate “The Northman” has to generate at least $140 million globally to cover its production budget. However, adding in the tens of millions in marketing means a movie like “The Northman” likely needs to make almost $200 million to break even in its theatrical run. In this case, Focus has a little flexibility in its finances because of Universal’s agreement with exhibitors to put movies on digital platforms in as little as 17 days. Expect the company to put “The Northman” on premium video-on-demand and its parent company’s streamer Peacock as soon as legally possible — and then pray to Odin that the movies becomes an instant cult hit. Floating around in publications.... and for a movie like that one nonetheless (has if anyone involved thought it had any chance to be one of the very rare break even from theatrical endeavours...) The shift to prestige/attention created for a need to grow streaming platform will be virtually impossible commentary wise.

From what we know there was no budget to end world hunger, just a budget to feed people short term with literal meals, the solve world hunger plan was in reality a help stave off starvation for 42 millions people for one year plan (by destroying local agricultures by dumping free foods in a short windows of time), no plan to solve world hunger in it at all. It was a complete bluff by the UN (it was a completely ridiculous statement, it is not something one can claim you could achieve if you had X dollars, but the estimate to those who try goes from 7 billion to 330 billlions over a decade). The organism that claimed it would fix it with 6 billion receive around 10 billion a year already and does not do it, just to show ridiculous the claim was.

For context of what the studio thought about them: Amazing Spider man 1 Estimating profit break point : 560M ww (170dbo, 390m intl) Greenlight expectation........: 600M ww (250m dbo, 410m intl) Beginning of the year expect..: 660m ww (250/410) studio tracked estimate.......: 740m WW (250/490) Actual........................: 757.9m WW (262/496) Amazing Spider man 2 Estimating profit break point : 616.7M ww (216.7dbo, 400m intl) Greenlight expectation........: 850M ww (300/550) Beginning of the year expect..: 865m ww (315/550) Studio tracked estimate.......: 695m WW (190/505) Actual........................: 709m WW (203/506)

Without a failure rate over time, it is hard to really judge, look at the last regular year 2019, how much of your own money would have put into Alita, Gemini man, Terminator Dark Fate, Dark Phoenix, Men in black international, 1917, Cats, Ford V Ferrari, if you start to get back on your invested post break event point, a little $25,000 and I feel like all of a sudden they would start like taking quite the risk, more than any other investment you have made. What changed is the amount of relatively safe bet, Once Upon a Time.... in Hollywood or really safe bet like Hobbs&Shaw, Shazam or just safer than treasury bound like Avengers, Star Wars, Lion King, Toy story 4. Dolittle/Space Jam/Dune / Jungle Cruise / Matrix 4 were risk even if they were IP attach or quite the genre/star combo. There is different between a risk and an inspired/ambitious one. Going large budget with the John Wick would be a risk, that people would take time to greenlight.

If I go by my level of activity since 2020 (specially movie box office related) for sure it has to me. There are many reasons I think for me, where there was a growth for a while than a plateau/regression 1) Movie box office (inflation adjusted is stopped to growth around 2017-2018, specially if we remove local Chinese production nothing against them and very nice for them, but not that fun to follow for me) With obviously the domestic decline per capita on a solid trend, pre covid: 2) Release window: Not just box office, but theatrical all around was way less interesting by the above. 3) Information explosion to a regression, we went to a world where information about the industry easy to acquire exploded with the Internet, cinemascore, daily box office and peaked with the Sony leak that was a direct windows into all the details and made us all "insiders" for a little while. Now we are back to the dark age of information, and it is not just access but it's very existance, how well a free to watch movie on a paid streaming platform did ? Who can have any idea, even the studio it's must be quite complicated to figure that out, you need to wait 3 months to know how much of the estimated new customer or retained customer are still there and what not. 4) Talked a lot but the product to follow to start with, specially if you are not invested much in the franchise war (or at all for me). 2010 release for example: https://www.the-numbers.com/box-office-records/domestic/all-movies/cumulative/released-in-2010 Red, The Town, The Fighter, Social Network, Date Night, Black Swan, Salt, The Other guys, Shutter Island, King Speech, Little Focker, True Grit, Inception with the top from Pixar, Disney remake, Paramount super heroes, Summit Entertainment and a big Warner Brothers. It rapidly concentrated: https://www.redchalk.com/wp-content/uploads/2018/06/Disney-vs-Comcast-1-min.png We went from 7 entity able to do 10% or more in a good year (and about 5 able to actually win the year) to pretty much 4 of them virtually 1.1 with a shot to win a regular year. 2011: 1 Paramount Pictures 23 $1,966,886,567 248,031,092 19.33% 2 Warner Bros. 34 $1,829,445,272 230,699,278 17.98% 3 Sony Pictures 29 $1,270,723,280 160,242,517 12.49% 4 Walt Disney 18 $1,225,147,880 154,495,310 12.04% 5 Universal 18 $1,025,035,016 129,260,405 10.08% 6 20th Century Fox 19 $982,812,355 123,935,984 9.66% 7 Summit Entertainment 10 $413,522,970 52,146,650 4.06% 2012: 1 Sony Pictures 26 $1,796,852,200 225,735,189 16.35% 2 Warner Bros. 29 $1,679,495,537 210,991,887 15.28% 3 Walt Disney 18 $1,566,749,202 196,827,779 14.25% 4 Universal 17 $1,368,500,098 171,922,114 12.45% 5 Lionsgate 25 $1,267,018,113 159,173,116 11.53% 6 20th Century Fox 19 $1,030,117,301 129,411,713 9.37% 7 Paramount Pictures 22 $919,099,720 115,464,777 8.36% In 2011-2012, Sony/paramount exchange the number 1 Universal, Fox, Liongates, WB, Walt Disney, Paramount, Sony all did a 10% or more year's 2019: 1 Walt Disney 13 $3,742,497,656 408,569,611 33.25% 2 Warner Bros. 43 $1,570,520,862 171,454,243 13.95% 3 Sony Pictures 24 $1,341,427,238 146,444,013 11.92% 4 Universal 26 $1,302,915,010 142,239,629 11.58% 5 Lionsgate 21 $797,851,162 87,101,645 7.09% 6 Paramount Pictures 11 $563,908,126 61,562,018 5.01% 7 20th Century Fox 13 $492,158,921 53,729,133 4.37% It was not a bad year too, Knives Out, Us, Joker, The Upside, Hustlers, Downtown Abbey, Jumanji, It 2, the classic Pixar/Disney Animation, marvel doing well, John Wick 3, Rocket Man, Little Woman, Green Book, Glass, Ford V Ferrari, it did seem to go into a nice direction before COVID"

In modern days it is plaque (premade for all possible winner before the show) put on them right after I think at the governor ball after party.

Relative to the at home popularity, I imagine horror would score really well (same goes relative for the resource needed) In 2021 by the numbers break down: Rank Genre Movies 2021 Gross Tickets Share 1 Action 45 $2,340,543,322 255,239,168 51.24% 2 Adventure 27 $789,147,690 86,057,535 17.28% 3 Horror 49 $580,589,442 63,313,994 12.71% 4 Comedy 59 $360,877,351 39,354,106 7.90% 5 Drama 119 $234,202,898 25,540,072 5.13 latest normal year Rank Genre Movies 2019 Gross Tickets Share 1 Adventure 47 $3,824,655,753 417,538,823 33.98% 2 Action 55 $2,897,574,987 316,329,127 25.74% 3 Drama 229 $1,386,938,422 151,412,394 12.32% 4 Thriller/Suspense 53 $1,126,925,762 123,026,805 10.01% 5 Horror 41 $810,478,370 88,480,157 7.20% If we go in more specific type than horror/action genre, but more like a class of movies like your example. The Pixar/Dreamwork 3d animation style (now took by everyone else including Disney) is a strong one, the disney classic remake genre for what is left classic wise, the 80s/90s classic semi-remake nostalagia a la Ghostbuster/Scream

That does follow the internal logic it seem, racist are not that much in power, it is very often punching down mocking racists( I doubt poor / less educated people tend to be less racist then the richer/more educated group, among countries but even inside them). And Muslims it depends, maybe they are oppressed in some part in China and so on, but that a giant diverse group of people that goes from the most very most powerful, richest people on earth to the poorest, like Christian (that are also oppressed in some part of the world). And there is axis of power, obviously some powerless in some ways but powerful culturally/taboo to talk about, that muddy the line, jokes about pandas/baby for example are you punching down or up ?

I am not sure what that mean, they obviously can give an Oscar to the runner up and they can obviously revoke someone Oscar if they want too, like they did one time in the past (what could possibly limit them to do so ?). They won't.

Olympics medals "must" be returned and surprisingly some are actually returned (I imagine by some people that wanted to keep a relationship with either the IOC or their national sport organization that asked them to do so). There is only one revoked Academy Award in history and like for nomination being stripped they all have been for technical reason (actual year it should have been eligible and so on) never on personal ground, Harvey Weinstein still has his 1999 Oscar I think. The time they did revoke it, the gave a new one to the second place and changed all the record everywhere, the actual statue is not having won the Oscar, you can find one in the black market if you want it I would imagine.

Yes he won 2 I think, and the fact he did go to the ceremony (or at the Oscar that year when he was nominated) or did anything about any of this is why I did pick him has an example.

You really think that if it was staged, that how Chris Rock would have reacted ? That it would have made everything to make it look like it did not get hit has much as possible ? (Without sound and replay, it would have been easy to miss) Anything that do not defy physical laws is possible, but it would have been genius, same for cutting the sound feed in some market but not other, so we can have it, while making it look like ABC wanted to hide it. I do not see why/how Rock/Smith accept to do it, those are in the very top of not needing any of this for their career.

Someone that watch and study movies every day is well above a casual movie fan............... It is really not, are we sure Terrance Malik does pay attention to award show and film festival for example ?. If you get lucky enough to get financed without them, you can make movies all your life and never look what is going on with those, no ?

The fact that have yet to see it (despite the first one being one of the best theatrical experience in my life like most people of my generation) mean I should be less surprised maybe, but before the ballon exploded I was quite pump for this (Cloud Atlas is one of my favorite movie has well). I shouldn't have any expectation, just one of the sister doing it, terrible sequels track record and so on, there was red flags all along.

That one of the most surprising result ever for me, under $40m domestic, before the last trailers/review it seem that it had quite the potential.

Avatar slipping too a small movie hurt here (not necessarily different than Private Ryan loosing back in the days, but that was in sandwich between other event movie). But that my feeling, theatrically at least, even winners has big/bigger than most of the past are cluberred by the giant franchise of that year.