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Barnack

The never ending debate around the break even point, study using Sony leaked accounting data

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2 hours ago, damnitgeorge08 said:

Many say that studios earn more  from starting days of a film in theaters than later ones. For ex. Iron Man 3 would have earned more profit than WW cos it opened bigger, despite them having same dom total. Is it true?

That was the old sliding scale system that must be taken into account for older release, older than at least 2007, now almost all studio movie work with a flat percentage fee for is run:

 

https://en.wikipedia.org/wiki/Film_distributor

Distributors typically enter into one of the two types of film booking contracts. The most common is the aggregate deal where total box office revenue that a given film generates is split by a pre-determined mutually-agreed percentage between distributor and movie theater. The other method is the sliding scale deal, where the percentage of box office revenue taken by theaters declines each week of a given film's run.[2] The sliding scale actually has two pieces that starts with a minimum amount of money that theater is to keep—often called “the house nut”—after which the sliding scale kicks in for revenue generated above the house nut. However, this sliding scale method is falling out of use. Whatever the method, box office revenue is usually shared roughly 50/50 between film distributors and theaters.

 

Industry became to front loaded to continue to use it.

 

I did not achieve to see a difference in retention % for movies released the same year with different legs pattern. Say for example the small OW with extreme good legs Girl with a dragoon tattoo, the regular opening weekend/legs Just go with it or the big OW with bad legs like Battle of Los Angeles, all 2011 release, they all had a 52% retention rate.

 

Just go with it weekly gross:

Feb 11–17 1 $42,555,964 - 3,548 - $11,994 $42,555,964 1
Feb 18–24 4 $25,698,858 -39.6% 3,548 - $7,243 $68,254,822 2
Feb 25–Mar 3 5 $13,445,248 -47.7% 3,544 -4 $3,794 $81,700,070 3
Mar 4–10 7 $8,281,511 -38.4% 2,920 -624 $2,836 $89,981,581 4
Mar 11–17 9 $5,737,628 -30.7% 2,398 -522 $2,393 $95,719,209 5
Mar 18–24 12 $3,021,612 -47.3% 1,708 -690 $1,769 $98,740,821 6
Mar 25–31 15 $2,051,686 -32.1% 1,116 -592 $1,838 $100,792,507 7
Apr 1–7 18 $859,472 -58.1% 597 -519 $1,440 $101,651,979 8
Apr 8–14 24 $348,750 -59.4% 320 -277 $1,090 $102,000,729 9
Apr 15–21 24 $403,371 +15.7% 326 +6 $1,237 $102,404,100 10
Apr 22–28 29 $277,059 -31.3% 265 -61 $1,046 $102,681,159 11
Apr 29–May 5 33 $172,863 -37.6% 199 -66 $869 $102,854,022 12
May 6–12 - $117,525 -32.0% 133 -66 $884 $102,971,547 13
May 13–19 - $56,562 -51.9% 89 -44 $636 $103,028,109 14

 

Dragoon tattoo weekly gross:

Dec 16–22 5 $8,376,473 - 2,914 - $2,875 $8,376,473 0
Dec 23–29 4 $32,383,831 +287% 2,914 - $11,113 $40,760,304 1
Dec 30–Jan 5 4 $24,775,610 -23.5% 2,914 - $8,502 $65,535,914

2

 

Jan 6–12 4 $15,644,935 -36.9% 2,950 +36 $5,303 $81,180,849 3
Jan 13–19 7 $9,844,219 -37.1% 2,674 -276 $3,681 $91,025,068 4
Jan 20–26 11 $4,970,045 -49.5% 1,907 -767 $2,606 $95,995,113 5
Jan 27–Feb 2 17 $2,886,352 -41.9% 1,202 -705 $2,401 $98,881,465 6
Feb 3–9 19 $1,439,324 -50.1% 668 -534 $2,155 $100,320,789 7
Feb 10–16 24 $699,082 -51.4% 269 -399 $2,599 $101,019,871 8
Feb 17–23 27 $503,233 -28.0% 189 -80 $2,663 $101,523,104 9
Feb 24–Mar 1 34 $259,432 -48.4% 125 -64 $2,075 $101,782,536 10
Mar 2–8 23 $408,022 +57.3% 256 +131 $1,594 $102,190,558 11
Mar 9–15 30 $253,268 -37.9% 211 -45 $1,200 $102,443,826 12
Mar 16–22 - $71,967 -71.6% 108 -103 $666 $102,515,793 13

 

Battle of los angeles 

Mar 11–17 1 $46,001,706 - 3,417 - $13,463 $46,001,706 1
Mar 18–24 3 $18,977,838 -58.7% 3,417 - $5,554 $64,979,544 2
Mar 25–31 7 $9,986,587 -47.4% 3,118 -299 $3,203 $74,966,131 3
Apr 1–7 10 $4,734,246 -52.6% 2,263 -855 $2,092 $79,700,377 4
Apr 8–14 14 $1,985,437 -58.1% 1,408 -855 $1,410 $81,685,814 5
Apr 15–21 20 $759,790 -61.7% 554 -854 $1,371 $82,445,604 6
Apr 22–28 28 $277,841 -63.4% 220 -334 $1,263 $82,723,445 7
Apr 29–May 5 44 $92,564 -66.7% 102 -118 $907 $82,816,009 8
May 6–12 - $268,786 +190% 229 +127 $1,174 $83,084,795 9
May 13–19 - $256,308 -4.6% 225 -4 $1,139 $83,341,103 10
May 20–26 41 $142,483 -44.4% 170 -55 $838 $83,483,586 11
May 27–Jun 2 - $68,414 -52.0% 96 -74 $713 $83,552,000 0

 

 

Studio domestic rental

Just go with it: 53,499 (51.9%)

Dragon tattoo: 53,412 (52.1%)

Battle los angeles: 43,276 (51.8%)

 

Even thought 68% of the Sandler comedy BO was in the first 2 week vs 40.7% for dragoon tattoo vs 77.7% for Battle of Los Angeles, they almost had the exact same % going to the studio (I imagine we cannot fully trust box office mojo, 1$ theater legs and so on)

Edited by Barnack
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I just fund new older data about movies going back to 2004, so I will have 2004 to 2006 Sony output numbers soon and will search for even older one.

 

Some possibly interesting one

 

Resident Evil apocalypse, they made 201.5m in revenues on that one, 58m in profit. Around 2004-2006 time it was around the average to have a movie revenues be 170% of it's world box office.

 

HellBoy 1: 13m in profits, 203.5m in revenues

Spider Man 2: 1089m in revenues, 280m in profits (for a movie total cost of 800 millions !, Spider Man 2 world theatrical release had a budget of 240m , it's home ent release did cost over 175m, it's net direct production budget was of 237.487m)

 

In 2018 dollar that a total cost of over 1 billion, a 315.85m net (not gross net) budget with a 550m worldwide release including home video, that put the panic over a 250m Solo or 300m BvS into perspective.

 

 

 

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8 minutes ago, lilmac said:

@Barnack has the calculus changed since the pandemic as far as studio/theater revenue breakdowns? 

 

I think it is always moving a bit it changed quite bit from 2004-2009 era and say 2010-2014, I am certain it changed again during 2015-2019 window and again in 2020-2021.

 

One big major trend you see on most studio is a large shift from home ent to TV revenues for the movie segment, has they tend to have Ott SVOD has TV and that has been a major change.

 

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14 hours ago, lilmac said:

Thanks. Has the veil been lifted somewhat on how subscription/streaming plays into determining profitability?

Personally I have no idea how something like monthly subscriber is transferred among all production and so on, either internally or to the up to date big talents, nor how much get considered the old TV side vs motion picture for platform that offer both. 

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