Friday Box Office Estimates Archive for July, 2012

Friday Estimates

A 62% drop without Midnights and 77% with Midnights of The Dark Knight Rises continues to allow question about whether there is a fear of going to the movies, though friday night also opened against the most watched night of The Olympics. Drops for other returning movies are also looking a bit heavier than usual. And the two newcomers both opened soft, though there are other possible issues with both.

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Friday Estimates, July 13, 2012

Ice Age 4 opens right in the middle of the series pack domestically. No Ice Age movie has ever grossed as much as $200m domestically and the big story of the series’ success is overseas, where it’s still early in its rollout. The Friday-to-Friday drop for Amazing Spider-Man is decent, though last Friday was the film’s 4th day in domestic release. Ted continues to hold strong.

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Friday Estimates: July 6, 2012

After opening big on Tuesday, Spider Man stays topside with another $20.3m on Friday. Ted will pass $100 today and Brave holds strong. Oliver Stone’s Savages debuted in fifth on the list with $5.6.

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Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch