Barnack

Replacing the government by someone that have such a lack of basic knowledge to say something like: "why would he buy super bowls ads if he owns all the team" or that not eating in restaurant everyday should be considered something ? Would be quite the experiment.

You cannot compare a stand up material with some late night show/need to get stuff every day no time to test and improve it type of material. Topical late night is a different ball park (would be a bit like comparing SNL live sketch put up together in a rush week with a movie)

There is a bit of chaos and always hard to say, but he would have probably thrived a lot in the current environment, Jeselnik said in an interview that the current climate have been a big help for is career and how much is stuff work with crowds, the level of quality of the last Chapelle would also not work as well without it. I am not sure what Carlin did back then would not work now. Louis CK is selling is tickets at a crazy rate even today and was selling Madison square garden in record time not so long ago, Blanche Gardin is bigand just won the last 2 Molières, Chapelle/Bill Burr are making what $20M a show ? on Netflix of all place, Carlin would have adjusted himself to thrive in this world I would imagine.

Yup that what I am also talking about, it is really polarized into the general culture ? Absolutely people that watch a Chapelle type comic stand up is a self selecting process and twitters is almost all from the same heavy users that are 2% of american adults quite over representing richer/more educated people, when it come to political talk it is only a small fraction of that 2%. I am not sure how divided those situation actually are (here for example 94% of the people had no issue with Trudeau Black and brown face incident according to actual polling of people with 0 change in voting attention, that is not necessarily what one would have thought reading some media about it) Not sure of the 2 point you make here, Chapelle is someone that think a lot and critically of bigotery, yes I would agree that something that is quite mainstream to do.

Source about it is polarized ? I have yet to encounter anyone that didn't find it lazy by moment but that lazy Chapelle is still quite good: Rt AUDIENCE SCORE 99% Average Rating: 4.91 IMDB: https://www.imdb.com/title/tt10810424/ratings?ref_=tt_ov_rt Rating Votes 10 45.2% 7,068 9 22.9% 3,572 8 16.4% 2,559 7 8.2% 1,282 6 3.1% 483 5 1.3% 202 4 0.5% 83 3 0.4% 64 2 0.4% 64 1 1.6% 244

Billy Lynn is in the all time great domestic for an over 40M, big names behind/front the camera over 1,000 theater release, surely Gemini should go over 15 time is 900k with ease. But it is easy to imagine an below Ad Astra start if the reviews stay that low (17-18M). https://www.boxofficepro.com/long-range-forecast-terminator-dark-fate-plus-a-big-joker-update/ BO pro had 28M in mind assuming really good reviews. That said tracking was right on track with your prediction, before the reviews: New titles on tracking include Ang Lee's sci-fi epic Gemini Man, starring Will Smith. Early NRG estimates show the the sci-fi epic debuting domestically to $29 million, ahead of Lee's Life of Pi ($22.5 million). The pic opens Oct. 11. The range being given by the combined services is $28 million to $30 million Maybe will see them sway the title.

Will see a lot of the interest could have been from an audience for who reviews matter quite a bit. Ang Lee with bad reviews could be DOA.

That a big part on why people start, there is a reason Don Draper made lucky strike sales jump: http://iveybusinessreview.ca/blogs/lbolukhba2010/2014/01/17/how-mad-men-lit-up-lucky-strike-sales/ https://www.telegraph.co.uk/news/health/news/10326252/Mad-Men-boost-for-Lucky-Strike-cigarettes-angers-campaigners.html Maybe less now that you can rarely smoke anywhere and that people have cellphone, but it was a good social protection back in the days has well, you were not waiting for someone alone doing nothing somewhere, you were smoking.

Do they ? Who would be a people that wonder why ?

Has media platform multiply I doubt that it would be the case, it is quite more gray when spent marketing start for a movie on the Internet nowaday versus television-radio, how one even know if what is seen is paid for promo or natural content sometime. But at the end of the day: http://investors.lionsgate.com/~/media/Files/L/LionsGate-IR/annual-reports/2019-annual-report.pdf Liongates P&A exploded since 2017 versus before. Universal studio marketing spending also raise a lot in 2018 versus the last 2 year's: https://www.cmcsa.com/static-files/54b28afa-2286-46bc-bca0-e35c9a4be739 Filmed Entertainment Segment Results of Operations Advertising, marketing and promotion 1,783 1,559 1,600 I feel the most solid evidence are actual studio annual report over what pundits-deadline, what we perceive, etc... It can feel like marketing is down but almost 100% of the online revenues come from marketing expense of big company and movie studio are probably quite over represented here :

That domestic alone true, those 80s figure are so bad. mojo as well do not have intl figure: https://www.boxofficemojo.com/movies/?id=rocky3.htm Maybe some other movie were actually ahead WW and not just tracked, but that the point those Rambo were really big but were not special domestic getting underrated by the press that was mono focused on domestic BO alone until the late 90s.

I feel that view is a bit influenced by narrative from those media pundit of those days. 1 ET: The Extra-Terrestrial $792,965,326 $435,110,554 $357,854,772 54.87% 2 Tootsie $177,200,000 $177,200,000 100.00% 3 An Officer and a Gentleman $129,795,554 $129,795,554 100.00% 4 Gandhi $127,767,889 $52,767,889 $75,000,000 41.30% 5 First Blood $125,212,904 $47,212,904 $78,000,000 37.71% 6 Rocky III $125,049,125 $125,049,125 100.00% 7 Poltergeist $121,706,019 $74,706,019 $47,000,000 61.38% 8 Porky's $109,492,484 $109,492,484 100.00% 9 Star Trek II: The Wrath of Khan $95,800,000 $78,912,963 $16,887,037 82.37% 10 Das Boot $84,970,337 $11,487,676 $73,482,661 13.52% First blood was bigger than rocky 3 and stark trek 2 1 Back to the Future $385,524,784 $212,259,762 $173,265,022 55.06% 2 Rambo: First Blood Part II $300,400,000 $150,415,432 $149,984,568 50.07% 3 Rocky IV $300,373,716 $127,873,716 $172,500,000 42.57% 4 Out of Africa $258,210,860 $79,096,868 $179,113,992 30.63% 5 A View to a Kill $152,627,960 $50,327,960 $102,300,000 32.97% 6 The Dream is Alive $125,900,000 $125,900,000 100.00% 7 The Color Purple $93,589,701 $93,589,701 100.00% 8 Cocoon $76,257,348 $76,257,348 100.00% 9 The Jewel of the Nile $68,275,764 $68,275,764 100.00% 10 Witness $65,532,576 $65,532,576 100.00% Rambo 3 was still bigger than classic giant success like Big, Die Hard. 1 Rain Man $412,800,000 $172,825,435 $239,974,565 41.87% 2 Who Framed Roger Rabbit? $351,500,000 $154,112,492 $197,387,508 43.84% 3 Coming to America $288,800,000 $128,152,301 $160,647,699 44.37% 4 Crocodile Dundee 2 $239,606,210 $109,306,210 $130,300,000 45.62% 5 Twins $216,600,000 $111,936,388 $104,663,612 51.68% 6 Rambo III $188,715,611 $53,715,611 $135,000,000 28.46% 7 Big $151,668,774 $114,968,774 $36,700,000 75.80% 8 Die Hard $139,109,346 $81,350,242 $57,759,104 58.48% 9 Masquerade $91,593,744 $15,855,828 $75,737,916 17.31% The 3 were giant blockbuster, almost all of them in the top 5 of their year's (not sure how it translate in today environment say being in the top 10-12 today, a 500-600m WW style of success, going purely with US dollar inflation the 2 smallest Rambo were a 332m and an over 400M movies). But because the press was looking almost exclusively at domestic in 1988 and that the VHS revenues were not fully accounted for either, Rambo 3 was described has a flop by the press (Cleopatra style).

Not sure what would be a better indication of the studio side market expectation than the price the movie achieved to be sold at.

It is hard to say for it's investors with how a movie like that i financed, maybe it will be much better for some of them. But for Liongates that bought Domestic+UK distribution right for $10M it is a really strong start yes (I imagine that at that price point the producers have some movie performance bonus in place ?), more than doubled their negative acquisiton on OW box office.

Not sure how we would know that, they cost barely anything no, those fan affair ? This year, Ghostbuster, Alien, Karate Kid, Night of the living death, Lawrence of Arabia, My Neighbor Totoro, Gone With the Wind (I think still the most popular movie on re-release this year again), Wizard of Oz, Dirty Dancing, Godfather 2, Ben Hur, Star Trek, Shawshank redemption...., Muppet Sound of Music Transformer Big Lebowski Saving Private Ryan Die Hard The Dark Crystal Easy Ryder Forest Gump Batman 1989 Kiki delivery service got one and many others: https://www.boxofficemojo.com/movies/?id=kiki30.htm Maybe they will wait for the 15 or 20 anniversary, but it is really rare to not have many re-release for populars movies, Avatar would be a first for that level I think. Why would they not ? Even with a re-release I imagine it could stay there, re-release of movie without any change do not usually make that much money

There not much more out there than the variety top spending, but more and more marketing is being spend outside TV spots.

I would certainly imagine so yes.

98% sound possible (if we can see it on this website with people bringing say Doctor Strange RT score and saying the movie is overrated because it was a strong consensus that it was a passable affair, who knows in the general population but I heard a lot of "normies" saying they saw the RT score has how likely you are to not dislike the movie and the average score for how much you will like it if you do), but for people claiming to be doing a somewhat journalistic job and using for social commentary it should get closer to 0%.

Only if you sign a contract saying they will.

That was pretty much the norm for WB wide release that summer: Comedy like Entourage release budget are quite domestic heavy (often a somewhat 40m-20m kind of split).

How long and bigthose re-release marketing campaign are ? Schindler list re-release was announced one day in advance: http://mentalfloss.com/article/566516/schindlers-list-returning-to-theaters-25th-anniversary Dark Knight 10 year's : https://variety.com/2018/film/news/dark-knight-10th-anniversary-imax-re-release-1202875906/ A bit over a month Titanic 20 year's re-release was announced November 15, started Dec.1 2 weeks later: https://variety.com/2017/film/news/titanic-20th-anniversary-re-release-1202616007/ I doubt it would get that many theater or much marketing. Close encouter was announced a little bit more than a month in advance: https://www.engadget.com/2017/07/26/close-encounters-of-the-third-kind-4k-remaster-theatrical-release/?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAACRmLnopTeCxWXGSPgP6kuh_j9LK4o8x810c6vujaog11nLJUtE4E__AFslCA8zWoXfbPhOTp6kcSHHL2b6BruYuv14O7UwTvhjbbjGcbAZxkR3YO9udS5JuU-MBfiDO2xqLzrcDVU3__HbEYNm8UIXBXEuOO7-9Rl0_upmBCXvk

If I am a studio give me Bohemian Rhapsody box office over Widows/Detroit/Call Me by Your Name critics.

I feel that narrative died down a while ago with the, critics now do not get too afraid to pan people with the biggest auteur signature out there: (been a while since is last criterion release as well, not so long ago being an big name auteur with a large success even if it was making Armageddon tended to get you those) and the : For the rest it tend to be true one exception is for director turned producer it seem not sure of the usage of the expression hit piece there, but for positive example of producer close involvement: https://www.empireonline.com/movies/features/10-cloverfield-lane-director-dan-trachtenberg-bad-robot-fan-theories/ How involved was J.J. Abrams whilst working in a galaxy far, far away? He was shooting Star Wars when we were shooting this movie, so he couldn’t be there on set but he still somehow managed to find the time to watch all our dailies and shoot me emails. I’d wake up in the morning to an email from him saying, “Love the inserts you’re getting!”, and, “Hey, what do you think about shooting this or that?”. Like crazy, smart and very encouraging. The greatest thing is to wake up to an email from him when I knew he was on the Millennium Falcon and looking at our movie and really proud of what we were doing. [That] was very emotional and exciting for me. He really put wind in our sails. Or interviews of people on TV/movie that worked with Spielberg for example I heard a lot of things saying how great Spielberg input are has a producer, Rudin, Apatow, for example: https://filmmakermagazine.com/102788-michael-showalter-on-working-with-kumail-nanjiani-and-judd-apatow-on-the-big-sick/ Something like this: Filmmaker: How collaborative and open to suggestions are you while filming? Showalter: Very, especially on a movie like this, where you’ve got Kumail and Emily, who are the writers and producers and Kumail is the star and it’s their real story. And you’ve got the producers, who bring an enormous amount of wisdom, experience, creativity and their own way of doing things, and these amazing cast members. I very much was in a facilitator role, wanting to make sure that everybody felt like their ideas were being heard. Filmmaker: How much input did Apatow or Mendel have? Were they on set? Showalter: Barry was on set every day and Judd was there periodically, a lot at the beginning and then at the end. Barry has been hands-on from the beginning to the end and Judd has been involved at every stage of the process. He’s involved in reading the script, he’s involved in postproduction when we’re editing and picking the music and sound, as well as getting into screenings and getting feedback. I was kind of in the center channeling it all through. Is not presented or talked about with any negative bent during the film release I think, it is a lot more when it comes from people that was running the conglomerate capacitor or south west parks or when it is a kid that never made a film trying to say too Ridley Scott/Scorsese how to make a film that it came with more backlash.

That was my first thought as well, maybe the movie is not particularly good and they didn't want to hurt the brand by pushing brought you by the James Bond expert in spy movie production, but it could be a lot of confirmation bias because of the release date on my part and always wanted it to be is own think completely separated brand wise.

Yes, my point was not that those critics would think that cartel are filled with nice people, but that what it involve to say no to them, to not get in a gang as a teen in some context is such a big deal that it can get a bit greyish sometime and the decision to not show a Mexican not in the cartel in a movie with them is still one to make. Now should a movie care ? Should filmmaker always create fantasy world when they want uncomplicated villain ? That a different take. Cartel can be so terrible (worst than some branch of ISIS sometime it seem) that I am not sure how much filmmakers should take white glove to treat the subject personally, when criminal organisation throw journalist from helicopter in cities to intimidate the population and the press, mass kill a bus of school children and so on.....