Barnack

Is school over by june 13th ? Oh I see the US is quite different than Canada (that would explain the rather felt quite long summer box office season)

https://www.boxofficemojo.com/daily/chart/?sortdate=2017-06-13&track=wonderwoman.htm Wonder Woman competition: 5 days in release The Mummy captain Underpants 19 days in release Pirates 40 days in release Guardian 2 Much bigger yes, but June 13th 2017 was a 20.7m box office day, March 19 2019 was a bit below 15m

Nice love those annual report and them adding more home ent details trends. Spending last year Digital home ent: 50% physical home ent: 16% Theatrical: 34% The trend of theater being 35% of studio revenues do seem to be going strong, despite all the talks of their disparition (and deadlines annual most profitable top down), we have yet to see any shift in studio revenues since the initials bursts of the dvd bubble between 2007-2011. Other note, Cable almost didn't change in subscriber since 2014, revenues are even up (unadjusted). 50% of the population still watch dvd/bluray, more than EST/VOD. The numbers of movie with a relevant budget (15M+) getting made with a theatrical release in mind, was indeed up the last 2 year's versus a big down in 2015-2016, even if MPAA studio output is still not at 2014/2015 level. 2018 film audience was male heavy, 51% (usually the other way around), male heavy giant success like Infinity war (60% male), Black Panther (56%), Deadpool 2 (60%), Jurassic World (54%) probably explain it. They bought 53% of the tickets. The frequent movie goers above 60% year's old had a massive 10% jump from 2017, now buying 15% of the tickets, old matter now more than teens at the box office. African American as well, 10% jump (black panther ?) 34% jump in digital home ent spending internationally (sign of China picking up there ?), WW home ent seem almost 20% bigger now than 2014. In dom Home Ent, digital is finally more than making up for the physical decline (those are kind of stupid, home physical have been digital for decades now), with 2018 spending 30% bigger than 2014. First year that subscription service spending got bigger than transaction. Dwayne Johnson seem strong on home video physical, with Jumanji/Rampage #1-2, I would imagine Rampage was just on threshold of being a big 160m type domestic success. Last jedi at #3 in dvd&bluray sales,, below a Greatest Showman is certainly giving credence to backslash narrative. #7 in EST as well and was not rented, being high profile on Netflix could do that I imagine. Best report in a long time, with very encouraging numbers imo. https://www.mpaa.org/wp-content/uploads/2019/03/MPAA-THEME-Report-2018.pdf

A lot.

Do they ever accuse film that come up with new creatures, powers, place to be unoriginal, did we saw so much talk about how unoriginal Valerian was or Alita ? The second one entry of the franchise... well they obviously have a point (franchise and never saw in your life tend to not fit together that well). That reducing to originality to the concept are they humans are unknown aliens shape/new magic sound ridiculous, originality in film making goes to score, dialogue, pace/energy, cinematography, editing, etc... and is not limited to anything.

If one has to buy 6 figures permits the other $0, full of rules to follow and not the others, not taxed the same ways there is more to it than offering a better product or not.

Is there, I mean there is over 10,000 movies a year made according to imdb, movie with a chance to be seen is what matter. Movies of the 6 major release according to box office mojo 2000: 44 (Disney) + 46 (WB) + 15 (Universal) + 18 (Paramount) + 19 (Fox) + 42 (Sony) = 184 2004: 33 (Disney) + 42 (WB) + 21 (Universal) + 23 (Paramount) + 24 (Fox) + 39 (Sony) = 182 2008: 21 (Disney) + 32 (WB) + 25 (Universal) + 23 (Paramount) + 26 (Fox) + 39 (Sony) = 166 vs 2017: 8 (Disney) + 20 (WB) + 22 (Universal) + 13 (Paramount) + 25 (Fox) + 38 (Sony) = 126 2018: 10 (Disney) + 38 (WB) + 31 (Universal) + 10 (Paramount) + 16 (Fox) + 38 (Sony) = 143 I think there was some decline in studio release (much more so in production) now versus 10 year's ago, that said most of it could simply be explained by Disney output declined in volume by 60-75% in the 2000s. Not sure about blockbuster, it is probably few less The Post/Widows/Bad TIme at the El Royale will be made, blockbuster and low budget affair are maybe the safer type here. It does not necessarily mean that more good non-for Disney+Fox movie screen in theater will be available for smaller movie to gain those market share, the power the entity will have over exhibition could possibly get quite huge.

Not sure what facts are enlightening who of what exactly (who do not know/think that the sellers of an asset decided to sell it ?) A major studio being acquired by an other happened just once before pretty much in 100 year's. Past[edit] Past majors include: Metro-Goldwyn-Mayer Pictures (1924–1986) became a mini-major studio; emerged from Chapter 11 bankruptcy on December 20, 2010. United Artists (1919–1981) acquired by MGM in 1981. RKO Pictures (1928–1959) defunct, then several times revived as independent studio; their latest films were released in both 2012 and 2015, respectively. 20th Century Fox (1935–2019) became a part of Walt Disney Studios when The Walt Disney Company bought 21st Century Fox for $71.3 billion. Not one care if the stockholders sell their stock obviously, what happen with them purely decided by the buyers is what people care about.

Well for the buyer... (this was probably not a real question ?)

Not sure, Coke/Pepsi, company making both the brand name and the no-name cheaper product, etc... well run coordinated duopoly with well sold made up war, can make quite the moat for a new player to enter and giving fake impression that healthy competition is going on to consumer and other relevant players.

Depend of said deal and some could have a close making it an option to be terminated in case of ownership / significant change, etc... But by default they bought all Fox asset and obligations (debt, deals made, contract). Say a standard case, if a Fox movie had a 48 months deal with Netflix, Netflix does not lose the movie distribution right because Disney bought Fox.

Not have been giant studio with a really good relationship with the MPAA and excellent feedback loop, probably would have been R rated, specially Titanic.

Internet non-sense here, but I feel close to impossible for someone to match Disney price and still be a good move, Disney is much better than other buyers at monetizing many of Fox asset and has good for others. Has for what Disney be interested in, that can be highly cyclical, they were a 40 movie a year studio not so long ago, they are not down to 8-10, who know in 2026 with Disney+ effect fully in place, my what do I know feeling, Fox movies a la Widow, The Post could be the more at risk of not getting made by them (while Searchlight type title more likely to continue early next decade).

Movie auteurship isn't that clear and dry cut, I am not sure people would have such an averse reaction that despise Lucas being not the director or doing the tiring part of the writing jobs of the star wars sequels that they were still "his", has the main auteur of them. Sorkins writing is so distinctive, precise and voluminous, executed down to the words that it can make feel is film has "his"

District 9 with a 100m budget would still have made nice money, it made over 250m and around 110m in profit, that a step above very successful because it was low budget. Many have a lower retention but much lower cost model too, no ? Hard Sci-fi isn't easy, but what is? (outside sequel-franchise), not many thing, action is really not easy, comedy not easy, drama...

That was TV right from the start (CBS), but wikipedia give him a bit reason: A cycle of episodes would focus on a particular story and the story would conclude in the final episode of the cycle, which gave rise to the term story arc. Some cycles were short while others were extended, but each new story had a specific set of central characters exclusive to it who would appear over the course of multiple episodes. Wiseguy starting a subset of a full season long arc, but not committing fully to it (doing it over a subset of episode, not the full length of a season).

I think American make a distinction between Cable and TV in language, he could be talking on American over the air TV, excluding HBO and stuff like that.

Not sure I follow what is going on here. Are you asking us to look at box office mojo worldwide gross and rank in descending order a list of movies to find which is the biggest ?

Well yes and they did no ? That negotiation, it is that or go find a filmmaker that will accept otherwise. Director asking for final cut and control is quite common, studio are protected the movie still need to mostly follow the approved script/concept usually.

Have you seen the interview into which he explained that when he did Mast and Commander, he did it under the signed the condition that he would accept to receive written studio feedback but would not give any answer to said feedback (said what he thought of their idea, if he would act on it, etc..). That was a $210M movie in today money....

I imagine it is relative to one of the biggest (if not the biggest) acquisition in the transaction : https://en.wikipedia.org/wiki/Star_India They have the IPL tv rights: On 5 September 2017, Star India won the global media rights to broadcast Indian Premier League (IPL) for 5 years beginning in 2018. The company bid INR 16,347.50 crore to secure the rights from the previous broadcaster, Sony Pictures Network.[35] Almost 3/4 of a billion viewers. Is this a Photoshop or real ? (well that was fast and I imagine some signaling of letting go of Fox has a brand quite suddenly)

Would have too look a long list but I feel so but even then tended to still have some partner on lot of stuff, just more light. Their company credits are really light on their title: https://www.imdb.com/title/tt2025690/companycredits?ref_=tt_ql_dt_4 The Finest Hours (2016) Walt Disney Pictures (presents) (as Disney) Whitaker Entertainment Beauty and the Beast (2017) Mandeville Films Walt Disney Pictures (presents) (as Disney) Ant-Man and the Wasp (2018) Marvel Studios For other studios, it tend to look more like: Mission: Impossible - Fallout (2018) Production Companies Paramount Pictures (presents) Skydance Media (presents) TC Productions Bad Robot Alibaba Pictures Film France Centre National du Cinéma et de L'image Animée (CNC) Norwegian Incentive Scheme (with the participation of) Jurassic World (2015) Universal Pictures (presents) Amblin Entertainment (presents) Legendary Entertainment (in association with) Dentsu (presented in association with) Fuji Television Network (presented in association with) The Kennedy/Marshall Company Transformers: The Last Knight (2017) Paramount Pictures (presents) Hasbro (in association with) Di Bonaventura Pictures Huahua Media Ian Bryce Productions Tom DeSanto/Don Murphy Production On less franchise heavy affair: Edge of Tomorrow (2014) Warner Bros. (presents) (as Warner Bros. Pictures) Village Roadshow Pictures (in association with) RatPac-Dune Entertainment (in association with) 3 Arts Entertainment (as 3 Arts) Viz Media (in association with) (as Viz Productions, LLC) Province of British Columbia Production Services Tax Credit (with the participation of) Dune Entertainment (in association with) (as Rat-Pac Dune Entertainment LLC) Prime Focus (uncredited) Even for their relatively safer affair (if you want people to share your slate risk you need to let them in on some of your best title). Having at least 25% of your budget and some market sold to someone else must be really common.

Well yes what was a bigger event is a bit different than box office, Jurassic World 2 was a much bigger box office than an event, weeks anticipation, media coverage, talks, song playing at the radios, people making long lines, product placement, toys mania, video game attach talk, etc.... can (and should imo) all be put in there.

Nowaday they are probably the only one doings so except for the rare exception like Potters, it is rare that when a movie start you only see one logo at the beginning past 2013 release (or say the studio logo and only the director/producer production company logo). Studio distribution of heavily financed by someone else movie is really interesting risk wise, less profit on the big giant hits, but because has a studio are closer to the revenues and having the big end of the stick they usually break even faster than the others participants, that are more risk capital on it. The ROI can still be really interesting. If we take a bit on an extreme example, Angry Birds, Sony expected to break even at 135m WW on that one, very low for a franchise 3D movie with an world wide release P&A of 125m WW, almost no risk, in exchange for that low of a risk if things go very well and the movie end up doing 350m WW, they though they would make around 25-26m in profit, that would be low for a giant movie with a giant release, but they have spent only 160m on it and spent really close to went the revenue came in, for and excellent 27% gross profit margin (and a fast margin in annual ROI that much better than doing 30% on a movie that spent money and paid interest on it 2 year's before the revenues started to come). That always a share of risk, and always an "error" when the movie is a success (when you had the choice to finance it) and always a "genius" move on failure.

% of the movie business being OS GA Avatar 73% District 9 (45%) Gravity 62% Inception 65% Interstellar 72% The Book of Eli, 40% (not that specially low for a Denzel US set aiming the religious audience movie) Eagle Eye (43%) Super 8 (51%) Edge of Tomorrow (73%) Pacific Rim (75%)