By MCN Editor editor@moviecitynews.com

MovieTickets.com Stats On HARRY POTTER AND THE DEATHLY HALLOWS: PART 2

MovieTickets.com, the leading global provider of remote movie ticketing, has seen incredible trends in advance ticketing for the upcoming release of Harry Potter and the Deathly Hallows: Part 2.  The increase in sales is not only apparent when compared with past films in the Harry Potter franchise but also when compared to large releases this year.  Stats for US ticket sales showing this success follow below:

When compared with other releases this year including the recent release of Pirates of the Caribbean: On Stranger Tides:

o    Pre-sales for Harry Potter and the Deathly Hallows: Part 2 are already greater than ALL ticket sales for Pirates of the Caribbean: On Stranger Tides (5/20/2011) to date.

o    MovieTickets.com has already sold more tickets for Harry Potter and the Deathly Hallows: Part 2 than any other movie released in 2011.

o    Pre-sales for Harry Potter and the Deathly Hallows: Part 2 are 648% higher than for Pirates of the Caribbean: On Stranger Tides (5/20/2011) on Tuesday prior to the Friday opening.

When compared with other films in the Harry Potter film franchise:

o    Pre-sales for Harry Potter and the Deathly Hallows: Part 2 are 38% higher than Harry Potter and the Deathly Hallows: Part 1 (11/19/2010) three days prior to opening.

o    Pre-sales for Harry Potter and the Deathly Hallows: Part 2 are 261% higher than Harry Potter and the Half-Blood Prince (7/15/09) three days prior to opening.

o    Pre-sales for Harry Potter and the Deathly Hallows: Part 2 are 474% higher than Harry Potter and the Order of the Phoenix (7/11/07) three days prior to opening.

o    Pre-sales for Harry Potter and the Deathly Hallows: Part 2 are 294% higher than Harry Potter and the Goblet of Fire (11/18/05) through the Tuesday prior to the opening

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch