China Box Office Thread | Deadpool & Wolverine- July 26

[A Marvel Fanboy]

Based on the title, TASM moved to Aug 27?

Yes.

[JCS]

Chinese release dates are mad.

[Fake]

Both TDKR and TASM releasing on Monday?Biggest week in Chinese box office history?

[Fake]

Where do you see IA4 finishing firedeep?50% weekly drops will take it to 68M. So more or less than that?

[Olive]

A local movie opens on Tueday, IA4 loses lots of screens.

[A Marvel Fanboy]

Both TDKR and TASM releasing on Monday?Biggest week in Chinese box office history?

Yes, both on Monday. And will be biggest week for box office for sure. Current record is 530M yuan leading by the opening of Titanic 3D. I see 600M+ for week 8.27~9.2. Week 9.3~9.9 should also do 500M+.

[A Marvel Fanboy]

Where do you see IA4 finishing firedeep?50% weekly drops will take it to 68M. So more or less than that?

It should drop around 50% this week and less than 50% next week. So I say 12M this week, which puts it at 57M by Sunday. So should do 65M~70M. but lets wait for tomorrow's real numbers first.

A local movie opens on Tueday, IA4 loses lots of screens.

I know.

[Fake]

Thanks.

[redfirebird2008]

25% isn't as low as some might believe. In the US, some studios have to pay about 15% of the total gross to the distributors. Minus the 50% cut by the theaters, they get only 35%.

Theaters do not get 50%. Not even close. For big films like TDKR, the studio gets 90-95% of the first 2 weeks. TDKR made $318m in 2 weeks, which means WB already had around $300m at that point. Percentages favor the theaters over time. Theaters loved the leggy runs of Titanic and Avatar.

[Michael Seng Wah]

Yes.

I do not know whether it is a good condition for Sony but I think mostly they do not want to lose the potential business first to TDKR which released earlier one day. It will be huge and crowded in China cinemas. =)

[John Marston]

Ugh, this is going to get ugly.

[Fake]

Theaters do not get 50%. Not even close. For big films like TDKR, the studio gets 90-95% of the first 2 weeks. TDKR made $318m in 2 weeks, which means WB already had around $300m at that point. Percentages favor the theaters over time. Theaters loved the leggy runs of Titanic and Avatar.

90-95%? What is left for theaters then?

[redfirebird2008]

90-95%? What is left for theaters then?

Food and drink sales. Later in a film's run, the theaters get a nice percentage of the gross (50% or higher).

[bballman24]

Food and drink sales. Later in a film's run, the theaters get a nice percentage of the gross (50% or higher).

I heard about the gradual increase and theater profits too. I think some people talked about it back at BOM. That's why even with shitty legs SM3 made more than the typical 50% due to its huge OW.

[dezorz]

Theaters do not get 50%. Not even close. For big films like TDKR, the studio gets 90-95% of the first 2 weeks. TDKR made $318m in 2 weeks, which means WB already had around $300m at that point. Percentages favor the theaters over time. Theaters loved the leggy runs of Titanic and Avatar.

this used to be true 20 years ago when a movie stayed in theater for almost a half year. now it is no longer this way. theaters keeps aprox. 50 percent of gross no matter of which week of release it is. although they get aprox. 50 percent this barelly covers their expenses so they need to make money on concesions.a quote from e.j.epstein blog:First, these reported " box office grosses" are not actually what the studios take in from their movies. They are the ticket sales which go to the movie houses. The movie houses usually keep about half for themselves and remit the balance to distributors (which may or may not be an arm of the studio). The distributor then deducts from the its out-of pocket cash expenses, including prints and advertising (called “P&A,”). These deductions often wipe out most, if not all, of what remains. Studios spent on average $35.9 million just for P &A on each of their titles in 2007. (Even their so-called “indie” divisions, such as Miramax, Sony Classics, and Fox Searchlight, spent an average of $25.7 million on P & A.) As a result, the studios spent more on P&A to lure in an audience into American theaters for an average film then they got back from their share of the box-office. And that does not take into account the cost of making a movie, which for a studio averaged $70.8 million in 2007 (Their Indie divisions spent only $49.5 per film). So while a "boffo" box-office gross might look good in a Variety headline, it might also signify a boffo loss.another quote:When I set out to write The Big Picture in 1998, one of my first priorities was to find out that the economic and other considerations that influence movie theater owners to show Hollywood’movies. Then, as now, only a handful of nation-wide multiplex chains accounted for more than 80 percent of the Hollywood’s share of the American box office, and a large share of these bookings are done at Sho West, the annual event in Las Vegas in which movie distribution andexhibition executives meet over four days to discuss plans for releasing and marketing upcoming films. So I contacted. Thomas W. Stephenson, Jr., who then headed one of these major chains,Hollywood Theater, and arranged to accompany him to Stephenson as part of my reportage for the New Yorker on Hollywood. Stephenson was willing to let me tag along to meetings in LasVegas on the condition that I not directly quote or identify those with whom he met. As part of the deal, he agreed to a Don’t Ask, Don’t Tell protocol in which, unless they specifically asked he would not to identify me as a journalist to the other participants at these meetings withbankers and studio executives.On the way to Las Vegas, Stephenson, an energetic, peppery-haired man in his early forties, gave me a quick course in the economics of his business. Of the fifty million dollars customers paidfor tickets in 1997, he said his 450-screen chain, Hollywood Theater kept only twenty-three million; most of the rest went to the distributors. But, he continued, since it cost $31.2 million to pay the operating costs of the theater, his company would have lost $8.2 million if it were limited to the movie-exhibition business. Like all theater owners, though, he has a second business:snack foods, in which the profit margin is well over eighty per cent. And with the snack foods, Hollywood Theater made a profit of $22.4 million on the sale of $26.7 million from its concession stands. "Every element in the lobby," Stephenson told me, is designed to focus the attention of the customer on its menu boards."more :http://www.edwardjayepstein.com/archived/popcorn.htm Edited August 6, 2012 by dezorz

[redfirebird2008]

this used to be true 20 years ago when a movie stayed in theater for almost a half year. now it is no longer this way. theaters keeps aprox. 50 percent of gross no matter of which week of release it is. although they get aprox. 50 percent this barelly covers their expenses so they need to make money on concesions.a quote from e.j.epstein blog:First, these reported " box office grosses" are not actually what the studios take in from their movies. They are the ticket sales which go to the movie houses. The movie houses usually keep about half for themselves and remit the balance to distributors (which may or may not be an arm of the studio). The distributor then deducts from the its out-of pocket cash expenses, including prints and advertising (called “P&A,”). These deductions often wipe out most, if not all, of what remains. Studios spent on average $35.9 million just for P &A on each of their titles in 2007. (Even their so-called “indie” divisions, such as Miramax, Sony Classics, and Fox Searchlight, spent an average of $25.7 million on P & A.) As a result, the studios spent more on P&A to lure in an audience into American theaters for an average film then they got back from their share of the box-office. And that does not take into account the cost of making a movie, which for a studio averaged $70.8 million in 2007 (Their Indie divisions spent only $49.5 per film). So while a "boffo" box-office gross might look good in a Variety headline, it might also signify a boffo loss.another quote:When I set out to write The Big Picture in 1998, one of my first priorities was to find out that the economic and other considerations that influence movie theater owners to show Hollywood’movies. Then, as now, only a handful of nation-wide multiplex chains accounted for more than 80 percent of the Hollywood’s share of the American box office, and a large share of these bookings are done at Sho West, the annual event in Las Vegas in which movie distribution andexhibition executives meet over four days to discuss plans for releasing and marketing upcoming films. So I contacted. Thomas W. Stephenson, Jr., who then headed one of these major chains,Hollywood Theater, and arranged to accompany him to Stephenson as part of my reportage for the New Yorker on Hollywood. Stephenson was willing to let me tag along to meetings in LasVegas on the condition that I not directly quote or identify those with whom he met. As part of the deal, he agreed to a Don’t Ask, Don’t Tell protocol in which, unless they specifically asked he would not to identify me as a journalist to the other participants at these meetings withbankers and studio executives.On the way to Las Vegas, Stephenson, an energetic, peppery-haired man in his early forties, gave me a quick course in the economics of his business. Of the fifty million dollars customers paidfor tickets in 1997, he said his 450-screen chain, Hollywood Theater kept only twenty-three million; most of the rest went to the distributors. But, he continued, since it cost $31.2 million to pay the operating costs of the theater, his company would have lost $8.2 million if it were limited to the movie-exhibition business. Like all theater owners, though, he has a second business:snack foods, in which the profit margin is well over eighty per cent. And with the snack foods, Hollywood Theater made a profit of $22.4 million on the sale of $26.7 million from its concession stands. "Every element in the lobby," Stephenson told me, is designed to focus the attention of the customer on its menu boards."more :http://www.edwardjay...ved/popcorn.htm

1998 is pretty old. I seem to remember a poster on BOM who actually works in the industry that reported the 90+% number just a few years ago.

[Rudolf]

so we all should be happy that Americans like to eat snacks

[A Marvel Fanboy]

I do not know whether it is a good condition for Sony but I think mostly they do not want to lose the potential business first to TDKR which released earlier one day. It will be huge and crowded in China cinemas. =)

Again, it is not up to Sony or WB at all. They can decide nothing but to export movies to China or not. The Sarft gives them (Hollywood studios) a date and the studios take it or no releases at all.

[A Marvel Fanboy]

Yeah, studios get 90% from first 2 weeks was an old thing. Time changed.

[Ozymandias]

TDKR, TASM, and Prometheus all being released within a week of eachother? LOL business is gonna get ridiculous over there.