Already, Endgame owns the all-time 24 hour record for a film's first day pre-sales, and wild optimists forecast that the sequel could get as high as a $1 billion worldwide in its first weekend.
While James Cameron owns the top two grossing movies of all-time worldwide, Avatar ($2.78B) and Titanic ($2.18B), it also wouldn't be out of the question for the Russos to lock down spots three and five with Endgame and Infinity War; the latter at $2.05B already is only $20M behind JJ Abrams' Star Wars: The Force Awakens which ranks third.
Bohemian Rhapsody (20th Century Fox/New Regency) – $350.8M
As a final cap, Deadline Hollywood provides readers with the revenue and costs charts of all 10 films that participated, as well as five honorable mentions and the year’s top five misfires. This tournament was set up as an annual Deadline feature to provide a better idea of bottom line performance, beyond the weekend and annual box office standings.
Jurassic World: Fallen Kingdom (Universal) – $222.8M
In terms of the Russos' resonance in town post Avengers, Deadline exclusively announced yesterday that they made a non-exclusive creative partnership to co-develop, co-produce and co-finance a slate of iconic properties from the MGM library. Because they included pricey music in that film they couldn't afford, Soderbergh was among a handful of people who ever even saw that film (many in the theater walked out). In the wake of their success the Russos are paying it forward to a new generation of filmmakers, cultivating new cinematic voices at their AGBO studio, similar to how Steven Soderbergh took the duo under his wing after seeing their 1997 debut avant garde debut Pieces at Slamdance.
Incredibles 2 (Disney/Pixar) – $447.4M
Aquaman (WB/DC) – $260.5M
The Avengers: Infinity War (Disney/Marvel) – $500M
Seuss' The Grinch (Illumination/Universal) – $184.6M Dr.
A Star Is Born (WB) – $178.1M
Venom (Sony) – $246.9M
Rank | Movie | (Studio) | Net Profit
In the sixth-year running of Deadline's Most Valuable Blockbuster Tournament, it's Anthony and Joe Russo who get to climb the ladder and cut the net after directing 2018's most profitable movie. take. Disney-Marvel's Avengers: Infinity War earned $500M after a $1.27 billion global B.O. It won't come as a surprise if we see the duo here again this year with all the recent buzz of how their sequel Avengers: Endgame is expected to tear up all of Infinity War's records roughly two weeks from now. Jon Favreau's The Lion King has yet to roar, but there's every reason to imagine Endgame outpacing Infinity War.
It is the third time the Mouse took the bows since we kicked off this profit ranking during the 2014 NCAA season. This year also marked the second back-to-back year that Disney won the Blockbuster Tournament after last year's Star Wars: The Last Jedi made $417.5M.
HONORABLE MENTION: The Nun (New Line) – $155M, Halloween (Uni/Miramax/Blumhouse) – $128.5M), Crazy Rich Asians (WB) – $120.8M, A Quiet Place (Par) – $93M and Green Book (Uni/Amblin/Participant Media) – $39.5M
Black Panther (Disney/Marvel) – $476.8M
Deadpool 2 (Fox) – $235.4M
Big shout out to Deadline Co-Editor-in-Chief Mike Fleming Jr., Managing Editor Patrick Hipes and Graphic Designer Brandon Choe who made Deadline's Most Valuable Blockbuster Tournament possible.
If Disney ultimately slows down the Fox pipeline, then it’s an opportunity for rivals to have a greater footprint with low-to-mid-budget fare. 2. Statistically speaking, film finance executives say that it's the $100M-plus budgeted movies which have the higher probability of turning a profit. But what 2018 continued to show was that low-to-mid budget titles still have the potential to flourish against tent poles at the multiplex, and not be swallowed up by streaming (which is the fate of comedies and dramas). It was a big year for superhero films: six of them crowded 2018's top ten most profitable films versus 2017's four: Wonder Woman, Spider-Man: Homecoming, Thor: Ragnarok and Guardians of the Galaxy Vol. That said, both studios can lay claim to half of the most profitable movies in our top 10. While there has been plenty of concerns around town that Disney's domination of box office will be exacerbated by its inhalation of Fox's film divisions — particularly with their combined Marvel might of Avengers and X-Men movies — some believe that's not an automatic. That was evident in three pics with budgets less than $100M –The Grinch, Bohemian Rhapsody, A Star Is Born– squeezing their way into the top list, not to mention the cash cows that were highlighted in our honorable mention list.
TOP FIVE MISFIRES: Mortal Engines (Uni) – –$174.8M, A Wrinkle in Time (Dis) – –$130.6M, Robin Hood (Lionsgate) – –$83.7M, Solo: A Star Wars Story (Dis) – –$76.9M, and The Nutcracker and the Four Realms (Dis) – –$65.8M.” />
Deadline’s Top 10 of 2018
Oscar movies have seen halo effects in recent years, including on such titles as La La Land, Three Billboards Outside Ebbing, Missouri and last year’s Best Picture Oscar winner The Shape of Water. Green Book (which, like Roma, is backed by Participant Media) was fully embraced by the Middle Kingdom, opening to a fantastic $17.1M. But this past weekend saw a surge. It was coming off huge social scores and is the market’s 2nd highest-grossing Oscar Best Picture winner ever, behind only Titanic. Anticipation is also high for Bo Rhap which goes through the arthouse network beginning March 22.
After Best Picture Oscar winner Green Book’s stunning debut at Middle Kingdom turnstiles last weekend, and amid news that four-time Academy Award laureate Bohemian Rhapsody will hit Chinese cinemas on March 22, comes word that triple Oscar winner Roma has been cleared for release. nearly two weeks ago, it's evidently still open season in China. While awards season drew to a close in the U.S.
While this is an intensely personal film, Cuaron has history with wide audiences in the Chinese market where Gravity grossed $71M back in 2013.” /> Roma currently has a strong 8.1 score on Chinese reviews aggregator Douban.
China’s National Arthouse Film Alliance today said via its Weibo account that Alfonso Cuaron’s black-and-white drama is confirmed to be released in Mainland China. No date was given, although a poster celebrating Roma’s Academy Awards for Best Director, Best Cinematographer and Best Foreign Language Film accompanied the tweet equivalent (check it out below).
We'll know soon enough if it paid off. $50 million? The money has been flowing, particularly from streamers like Amazon but especially Netflix, which might have set a record — $25 million? Depends who you talk to — for spending to get their first Best Picture win. This remains a wide-open race, and the outcome still is very murky thanks to the Academy's use of preferential ranked voting in the Best Picture category. $30 million?
The winner for Adapted Screenplay, Can You Ever Forgive Me?, is up for three Oscars, but like the other usually telltale and Oscar-predictive guild contests this year, there is absolutely no agreement on which film is best or delivering any momentum when it is needed most. Common consensus has it that those two films are the two most likely to be left standing as accounting firm PricewaterhouseCoopers begins sorting through the ballots, trying to come up with Oscar's least least-liked Best Picture contender out of the eight nominated. That includes Sunday's WGA Awards, where for the first time in decades, neither top film award went to a Best Picture Oscar nominee, and one of them (Eighth Grade) won Original Screenplay without having a single Oscar nomination to its name. Five different movies won at five major guilds, and the story was repeated fairly consistently at the other guild banquets. Then again, astoundingly at this point, it could be anyone's ballgame as this has been a crazy year. The campaign — often a sorry excuse for decorum — finally will be over after starting in earnest with the fall festival trifecta of Venice, where Roma came out triumphant; Telluride; and then Toronto, where Green Book took the emerging race by surprise and won the all-important People's Choice Award, often a predictor of Oscar glory. So which way will Oscar turn for the one award that really counts?
So what are you waiting for? It's time.” />
It is still a work in progress until 5 p.m, so if you want to be a king-maker, it’s time to fill out your ballot before Russia gets hold of it. Now you can be a straggler with no sweat. Even in the pre-online era, voting consultants estimated that as many as 500 paper ballots would be walked into or messengered to the downtown Los Angeles offices of Pricewaterhouse on the final day. This is the first year where no paper ballots are allowed; it is all online, which means there is still time, brother. I know of at least two voters who just turned in their choices late Monday, indicating there are a lot more just like them.
Polls close at 5 p.m. If you happen to be one of the 7,902 eligible Academy voters who have yet to cast your ballot, I would suggest you start thinking about it as you only have this afternoon to do it. PT, and that's it.
Oscar ads on the morning shows today included Vice, If Beale Street Could Talk, BlacKkKlansman, Incredibles 2, Bohemian Rhapsody and, of course, Roma — which has had a non-stop presence on the air for several weeks. Oscar campaigners who have been waging the bitterly fought battle for the past six months are going right to the wire. Amazon still was taking out full-page ads in the Los Angeles Times today and is all over the Net hoping to pull an upset for Polish Foreign Language Film nominee, Cold War. And so it goes. Those are just the ones I caught. No doubt Green Book, A Star Is Born, Black Panther and The Favourite are joining in.
monologue linking leftist criticism of 2020 Democratic presidential candidates with attacks on this year's Oscar Best Picture nominees for various sociopolitical reasons. UPDATED with video. Bill Maher closed a fairly by-the-book episode of HBO's Real Time with an inspired anti-P.C.
"And sometimes, what you end up with is, no one to host the Oscars at all." "This time, let's not eat our own," Maher suggested about the Democratic hopefuls, referencing the undermining of Hillary Clinton in 2016 by many Democrats. "This is a real problem in our society, looking to dump someone good because there must be someone more perfect," he said. With the early field of candidates already being picked apart, he hit back and then slyly bridged to awards season.
"This is a movie made liberals, for liberals, bursting at the seams with liberal values — not good enough!" he mock-jeered. Green Book has been downgraded by some for director Peter Farrelly's admission that he flashed members of the cast and crew on the sets of his films as a joke.
The Academy Awards, he declared, "are being ruined by these same kinds of ridiculous purity tests." He rattled off a few examples, barely a week before the big contest will be settled (no, not the Iowa Caucus).
Roma, he marveled, "delivers such an authentic portrait of a Mexican housekeeper, Arnold Schwarzenegger tried to impregnate it." And yet, Maher complained, some naysayers insist writer-director Alfonso Cuarón isn't qualified to tell the story because he isn't poor.
"If they believe that, I'm not going to tell them otherwise," said Wiley, a civil rights activist. Apart from the Oscar bit at the very end, the conversations involving all of the guests — musician John Legend, Chicago Mayor Rahm Emanuel and panelists Paul Begala, David Frum and Maya Wiley — were striking for the universal support expressed for embattled Virginia Gov. Ralph Northam. While many Democrats have urged him to resign after the blackface controversy, Wiley cited polls saying 58% of African-Americans in the state prefer that he stay in office.
'Cause all I learned was, don't wear khakis onstage when you really have to pee." Maher ended with A Star is Born having "big problems with consent. Yes, consent." He quoted from a post about the film on Vox, which lamented the "huge power imbalance" between characters played by Bradley Cooper and Lady Gaga as well as a "lack of female agency." Incredulously wrapping up the rant, he wondered, "That is what you got out of A Star is Born?
Now, their sexuality is pushed to the background and it's, 'Where's the d–k sucking?'" Bohemian Rhapsody to some is "flawed because it's gay, but not gay enough. What?! Really, that's what they're saying," Maher said. "It's insensitive to the extremely gay. For years, the beef about gay characters in movies was that they were reduced to their sexuality.
Begala, a CNN commentator, Virginia resident and friend of Northam's, cited many of the governor's accomplishments, concluding, "People would prefer redemption to resignation."
“This is a real problem in our society – looking for an excuse to dump someone good because there must be one more perfect. And sometimes what you wind up with is no one to host the Oscars at all.” – @BillMaher #RealTime pic.twitter.com/6auyCz4iI6
— Real Time with Bill Maher (@RealTimers) February 16, 2019
Roma won four awards, including Director and Cinematography for Cuaron. Leading Actor went to Rami Malek for playing Brit rock icon Freddie Mercury in Fox's Bohemian Rhapsody, cementing his status as the Oscar frontrunner in the category.
em>Bohemian Rhapsody, Warner Bros' A Star Is Born (Warner Bros) and Universal's First Man (Universal) came in with seven nominations apiece; A Star Is Born won for Music and Bohemian Rhapsody also took the Sound category. First Man was shut out.
Here's how we called the action from Royal Albert Hall:” />
That wrapped a night that saw Fox Searchlight’s The Favourite, which came in with a leading 12 nominations including Best Film, come away with a leading seven nominations: Lead Actress for Olivia Colman, Outstanding British Film, Rachel Weisz as Supporting Actress, Original Screenplay, Costume Design, Production Design and Makeup & Hair. The British Academy of Film and Television Arts handed out its BAFTA Film Awards on Sunday, with Alfonso Cuaron's Netflix movie Roma scoring the marquee Best Film honor at Royal Albert Hall.
Bradley Cooper, Lady Gaga, Lukas Nelson
Fox Searchlight’s The Favourite, which led all nominees going in with 12, won a leading seven trophies as the two films with the most Oscar nominations this year duked it out on at London's Royal Albert Hall. Alfonso Cuarón's Netflix film Roma won the Best Film at the British Academy of Film and Television Arts' BAFTA Film Awards on Sunday.
Stephen Woolley and Elizabeth Karlsen” />
OUTSTANDING BRITISH FILM
BRITISH SHORT FILM
Geoffrey Baumann, Jesse James Chisholm, Craig Hammack, Dan Sudick
Cuarón's black-and-white Spanish-language memory play score four noms overall — Best Film Director and Cinematography for him, and Best Film Not in the English Language — but those categories came later in the evening.
Jonathan Hodgson, Richard Van Den Boom
EE RISING STAR
SPIDER-MAN: INTO THE SPIDER-VERSE
A STAR IS BORN
BRITISH SHORT ANIMATION
FILM NOT IN THE ENGLISH LANGUAGE
Spike Lee, David Rabinowitz, Charlie Wachtel, Kevin Willmott
Both won the same categories at the SAG Awards. Also picking up Oscar momentum Sunday was Rami Malek, who scored a Leading Actor win for Fox's Bohemian Rhapsody (the pic also won a Sound award). Mahershala Ali won the Supporting Actor prize for Green Book.
MAKE UP & HAIR
Deborah Davis, Tony McNamara
Here's the full list of winners:
Yorgos Lanthimos, Ceci Dempsey, Ed Guiney, Lee Magiday, Deborah Davis, Tony McNamara
OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER
OUTSTANDING BRITISH CONTRIBUTION TO CINEMA
John Casali, Tim Cavagin, Nina Hartstone, Paul Massey, John Warhurst
Fiona Crombie, Alice Felton
Elizabeth Chai Vasarhelyi, Jimmy Chin
Alfonso Cuarón, Gabriela Rodríguez
Alfonso Cuarón, Gabriela Rodríguez
Michael Pearce (Writer/Director), Lauren Dark (Producer)
The rest of the show was mostly The Favourite's playground, where the Brit-originated pic with its Brit subject matter won Outstanding British Film, acting trophies for lead Olivia Colman and co-star Rachel Wiesz, as well as Original Screenplay, Costume Design, Production Design and Make Up & Hair.
Bob Persichetti, Peter Ramsey, Rodney Rothman, Phil Lord
SPECIAL VISUAL EFFECTS
Bohemian depicts musical performances of all scales, in all kinds of venues, as it charts Queen’s rise to fame. How did you work through this sonic arc?
How was Mercury’s voice brought to life for the film? I understand that the final product emerged from a combination of elements.
Warhurst: [We did] need a good, strong element of crowds, even during the shoot, so when we shot Live Aid, we had 600 people, which we recorded singing along, line by line. Then, we also recorded smaller crowds, right down to individuals, down at Shepperton Studios, so that we had these multilayered crowds, and wherever you are in the concert with the camera angle, you feel the presence of the crowd around you. We did that multiple times, to layer them up. We got sent tens of thousands of people singing, which we could also add into the film, so we were able to create these huge layers of crowds. In post-production, they created an app and asked people to sing along to “Bohemian Rhapsody,” and send their vocals in. Then, we had another bit of good fortune, in that Fox decided to run this marketing campaign.
Returning to their roots, Warhurst and Massey would use every tool in their arsenal to make the film lively, engaging and immersive, finding their greatest test in the Live Aid scenes that bookend the film.
For instance, when we're in the live sequences, we're up close against Roger [Taylor]'s drum kit; we had to accentuate that, and make the viewer feel like they're really there. But because I had all the individual elements in front of me, I could make that happen. Massey: We had access to all of their original material in multitrack form, so John was able to assemble all that material, and pass it on to me. The challenge was to recreate the iconic sound of Queen as a mix that you’d recognize, but also then to bring it into film, which means changing perspective on every shot.
While Queen’s music is enrapturing, you clearly couldn’t just place a track over a scene, and leave it at that. What work was done to bring added vitality and immediacy to the music?
After many inquiries at various places, we found out that Queen was playing at the O2 [Arena] in London, which is a huge stadium, and we were able to get the Queen crew to mic the stadium with 22 different mics, pointed all around the arena. Then, John took all those recordings and conformed them with the music units—and as part of the final mix, I was able to use those recordings in various forms, panned around the room in Dolby Atmos to recreate the acoustic sound of the stadium, along with the typical electronic reverbs, slaps, delays and such. Massey: Very early on, John and I talked about wanting to get the acoustic sound of these large venues; the interior auditoriums, and obviously, Wembley Stadium. Then, John was able to play back all the songs that we needed for the film, in full length, through their PA, with no audience present, so we were able to get clean, stadium acoustic recordings. But I really wanted that real-world environment, and a huge part of that experience for Live Aid was those recordings that John was able to make with the Queen crew.
Warhurst: One of the things we all talked about was, what is the difference between what we're filming, and someone just clicking on YouTube and watching clips of Live Aid? What can we bring to it that's new? We discussed how it would be amazing to try to create a hyperreal version, so it would feel as though you are actually at Live Aid.
We knew we wanted to get Freddie's vocals into the film; God, he's got such an amazing voice. We then went into rehearsals with the band. Rami and the band were all working for weeks and weeks before trying to step out Live Aid with Polly [Bennett], [Malek’s] movement coach—and also, trying to learn to move like Freddie. The main thing I always said [about the film’s sound] is, I really want people to go see this film and not even think about it. I remember getting towards the end of the shoot of Live Aid and thinking, Christ, tomorrow he is doing dialogue scenes. He almost lost his voice shooting Live Aid, because he was singing at the top of his voice, take, after take, after take. To be able to sing like Freddie Mercury—huge range—you want to get that to really work, so we put Rami through his paces. I don't think he's going to have a voice left by the end of this shoot.
So, we were combining Rami and Freddie in that sense, and then we found a voice double of Freddie because there are scenes in the movie—for example, when he was writing “Love Of My Life” at the piano—where we don’t have that recording of Freddie Mercury. On set, Rami would sing at the top of his voice. We don’t have a recording of Freddie singing “Happy Birthday” at his parents' house, or singing “Doing All Right” in the car park, so that was where we had to dip into voice double. We were always recording Rami's vocal down, every time we shot a scene, and from that, we would pull out elements of Rami—his breath in, and things like that—which helped us enormously in making you suspend the belief that he is Freddie Mercury. Warhurst: Wherever we had Freddie, we always used Freddie, because it's so hard to beat that voice, and we wanted people to enjoy the fact that it’s almost the spirit of Freddie in the film.
So, we weren't sure exactly how we'd make the film.” The pic would eventually find its lead in Rami Malek, who is making his first run at Oscar this year, though there were more fundamental quandaries to confront, in terms of the film’s approach to sound.“There were many discussions, because obviously there are many ways to make a musical film,” Warhurst explains. “You can make it with everybody singing live on set, or you can go into the studio before and record the vocals down, and then play the vocals back on set, effectively miming to the songs.
The sound and music editor and re-recording mixer behind Bohemian Rhapsody, John Warhurst and Paul Massey came to the project with ample experience on music-based films, and still needed time to get their footing, figuring out how this particular one could work.
On one of the versions of it, I did get a call and got involved; that version then stopped, and in 2016, I then got another call to say, "We found our Freddie Mercury." I was very excited about that. They got Rami and knew he was the guy, and the script was really starting to take shape. John Warhurst: This project had been buzzing around London for years, with different actors attached, different directors attached. It kept changing, and they kept working on the script, and I kept hoping that one day I would be involved in it.
There were many themes in the film. I think that was before they got the film green lit, and soon after that, we got the date to start shooting. Some of the themes, I knew that we would have, things from Queen’s recordings. But there were other parts of the script where there weren't any Queen recordings, so we put together a test reel, with Rami singing and miming to Freddie, and it really turned out well.
Massey: I made a concerted effort in the mix to have the sound grow with the film, in terms of the quality of the sound and the specificity of getting close to certain instruments. You can't have them coming on really strong at the beginning of the film; then, there's nowhere to go.” /> So, there was a concerted effort to make that overall arc work, which took a long time. Likewise, as they first get on tour, [with] “Fat Bottomed Girls,” and through that montage sequence, they've not quite got everything together yet. The more polished mixes, the larger-scale sound, the use of surround, and more use of sub happens as the film progresses, and the band gains popularity and their footing. When they're in their early days, when they're Smile inside the club, I wanted to make that a little out of balance, a little raw, a little less polished.
Rami just sang that in his own voice; then, in post-production, we would get the voice double to match exactly the songs that Rami had done. Now, the way we created that was on set. We knew we wanted to stay true to Rami's performance of Freddie, but we needed the voice to sound like the voice that you hear in the concerts, as well. So, we tried to make sure that it was seamless between the dialogue and all the elements of the scenes throughout the film.
What kind of work needed to be done, as you took your first steps on the film? How did you come to work on Bohemian Rhapsody?
I couldn't ask for a better film to mix. It was truly just a perfect storm of project for me. We had worked together on a couple of films previously, when I had been in London, and he mentioned the film to me early on, when it was in its initial stages. Paul Massey: This was something that I was absolutely dying to get on board with, and it was actually through John that I managed to get the first contact into Bohemian Rhapsody.
Mercury’s voice was singular, seemingly impossible to match, and the film would need the right star to channel his charisma. Given the nature of the story at hand, Warhurst and Massey knew the project would be demanding. Telling the remarkable true story of Queen frontman Freddie Mercury, the drama follows the band’s rise from humble beginnings through their iconic performance at Live Aid in 1985.
Warhurst: In the early stages of Bohemian Rhapsody, I realized the band were going to support the film so much. Being invited to their studio to have a look at the material that we could use in the film—standing and listening to “Bohemian Rhapsody” original multitracks, with the outtakes of Freddie that we actually ended up using in the film—I was just in a dream world, by that point.
“It's everything I dream of.” Both Warhust and Massey loved music and started their careers in that field; Massey fondly recalls recording live concerts for acts like Yes, Supertramp and The Police, and mixing them for TV. They sought out projects where music was a critical factor, with Bohemianbeing the ultimate encapsulation of their diverse sets of skills. When they found their respective paths into film and television post-production, each of these artists held on to the passions that brought them to that point. Oscar-nominated this year for their contributions to Bohemian Rhapsody—along with sound mixers Tim Cavagin and John Casili, and sound editor Nina Hartsone—the pair came to the project from similar backgrounds, and with a similar sense of anticipation. “Such an iconic band, such an iconic sound, dealing with music and mixing it in the theatrical environment,” Massey reflects.
Massey: Kudos to Rami's performance. Obviously, it took a lot of work to match these three voices, but he took on the persona of Freddie so brilliantly that it made those seamless joins pull off.
A Star Is Born
Megan Mullally will host the silver anniversary SAG Awards ceremony, which will air live on TNT and TBS starting at 8 p.m. Deadline will be covering the show live from the Shrine.” /> Last year, Kristen Bell fronted the actors union's trophy show, breaking a long-standing custom of not assigning a host for the ceremony. ET Sunday.
Here they are:
Crazy Rich Asians
Additional presenters for what organizers call "the actors’ party in the actors’ house" will be revealed in the coming days.
The top stars from five of this awards season's biggest movies will be on hand at Sunday at the Shrine Auditorium to introduce clips from their films that are nominated for the marquee Outstanding Performance by a Cast in a Motion Picture trophy. The first group of presenters for Sunday's 25th annual SAG Awards is out, and it's a doozy of a list.
John David Washington
It's also not far from the older-skewing The Intern which made $625K on its Thursday night and opened to $17.7M. Paramount reports that Instant Family starring Mark Wahlberg and Rose Byrne made $550K. Tracking has the pic clearing a mid-teen to $20M opening. The pic's Thursday is in the vein of Goosebumps, another family movie, which made $600K and debuted to $23.6M. The Rotten Tomatoes score for the movie currently is at 70% Fresh.
The David Yates-directed movie is off to a great start. is expected to clear $70M in U.S./Canada and not be shackled by its lackluster 45% Rotten Tomatoes score. Showtimes began at 5PM and played at roughly 3,300 locations. UPDATE FRIDAY 7:35AM: Fantastic Beasts and the Crimes of Grindelwald came in much higher last night with $9.1M. Rowling-penned movie from Warner Bros. The figure includes Tuesday sneaks at 600 locations which minted around $1.8M we hear (hence last night was $7.3M). Note that's not an exact like-for-like with the $8.75M Thursday night previews of Fantastic Beasts and Where To Find Them's from two years ago at this time. The J.K.
These figures do not come from Warner Bros. EXCLUSIVE: After grossing $10.1M in ten offshore markets off 9K screens, Warner Bros.' Fantastic Beasts: The Crimes of Grindelwald is eyeing an estimated Thursday night of $7M-$7.5M at approximately 3,300 locations that started showtimes at 5PM, per Deadline sources.
On the Atom Tickets side, FB2 is outpacing pre-sales of Incredibles 2, Ant Man & The Wasp, and The Grinch.
Rowling, made $8.75M, which repped close to 30% of its first day's $29.66M. WB thinks it's going to debut to $250M WW; others think it's higher, possibly even $275M. The pic wound up opening to $74.4M in the U.S./Canada, but it was all about the global play with the movie, which debuted to $219.9M and finaled at $814M. As we always footnote, this estimate could go higher or lower, and west coast shows just started an hour and 15 minutes ago. Two years ago at this time, Fantastic Beasts and Where to Find Them, the first chapter in the Harry Potter spinoff from author J.K. This time around, FB2 is global day and date in 79 out of 80 markets.
The Grinch from Illumination/Universal is showing a $7.5M second Friday estimate and $31M second weekend, -54%, for a 10-day of $119.4M. 20th Century Fox/New Regency/GK Films' Bohemian Rhapsody looking like it will top the weekend's newcomers with an estimated third weekend of $16M, -49% after a third Friday of $4M with a running total by Sunday of $128.2M. Fox/New Regency/See-Saw's Widows is eyeing an estimated $13.3M opening after $5.5M Friday, while Paramount's Instant Family with an estimated $5M today is not far behind with a three-day of $12.5M
Paramount/Bad Robot's Overlord ended its first week with an estimated $13.8M while Sony/MGM/New Regency's The Girl in the Spider's Web earned $10.7M. 20th Century Fox/New Regency/GK Films' Bohemian Rhapsody earned $1.8M, -18% for a second week of $43M and a two week running total of $112.2M. Yesterday Illumination/Universal's The Grinch was the top grossing title among regular films in release with an estimated $2.5M, -3% from Wednesday and a first week gross of $88.4M; that's more than the first week of Despicable Me ($85.6M).
In Fandango pre-sales, FB2 was pacing in sync with FB1 with the ticket-seller survey showing that 93% of moviegoers are excited to see Jude Law as Dumbledore, 91% saw FB1 on the big screen while 78% are fans of the pic's leading man Eddie Redmayne.
20th Century Fox/New Regency/See-Saw's Widows is also holding previews tonight at 7PM, as well as Paramount's Instant Family at the same time.
Let's hope the momentum builds. UPDATE FRIDAY, 12:36 PM: Warner Bros. Note last night's previews only grossed $7.3M and rep close to 27% of today's ticket sales. sequel Fantastic Beasts and the Crimes of Grindelwald is eyeing around $27.5M, on its way to a $69M-$70M weekend. Lower range here on the film because Thursday previews of $7.3M came in 17% less than the Thursday of the first chapter two years ago.
Thanksgiving is just getting started.” /> We'll have more as it comes.
20th Century Fox/New Regency/See-Saw's Widows from Oscar winner Steve McQueen which grossed $600K at 2,200 locations. Production cost before P&A was $42M. One industry comp is Breaking In which posted a Thursday night of $615K before making a $4.5M Friday and $17.6M opening, but overall is a hard one to comp and its a hybrid socio-political heist thriller ensemble. The pic is looking at a mid-teen to possible $20M opening. Widows has already cleared $4M from its UK release last weekend.
Here's our first Crew Call of awards season 2018-19 in which Ottman expounds on the editing for Bohemian Rhapsody. ” />
What a difference a year makes.
After news broke last December that Fox was firing Bryan Singer as director on Bohemian Rhapsody, from the outside looking in, it didn't appear as though things were going well for the Freddie Mercury biopic.
Also, Rami Malek's uncanny turn as Mercury –the dance jumps, the mic stand jousting and the lip syncs– are also part of Ottman's fingerprints. What was key for Ottman? That final Live Aid concert sequence. Ottman, together with DP Newton Thomas Sigel, have created a concert movie that puts you squarely in the sweat and fever of Mercury's onstage energy, moments which rival those in Warner Bros.' Bradley Cooper-Lady Gaga country rock drama A Star Is Born. He had to get that right in order for Bohemian Rhapsody to work, a finale he calls "The Death Star" sequence.
And the editor doesn't just put films like X-Men together, he typically composes the score as well, making him an anomaly in the industry (who actually does both on major studio films?). However, when it comes to executing his vision on-screen, Singer has continually surrounded himself with sublime below-the-line talent, and Ottman is a longtime collaborator who he's worked with going make to their indie filmmaking days on such '90s fare as the short Lion's Den, and the Sundance Film Festival features Public Access and the Oscar-winning The Usual Suspects.
The spoils have been through the roof: The New Regency/GK Films production blew away its $35M stateside opening weekend projections and debuted to $51M and has already sang past the $300M mark at the global box office. He worked the film into such fine shape, that before Dexter Fletcher stepped in to finishing directing on the film, Fox was so blown away with a first cut that they moved Bohemian Rhapsody out of its Christmas day debut to the first weekend of November. Ottman catapulted Bohemian Rhapsody across the finish line with producers Graham King and EP Denis O'Sullivan.