Moviegoers brought plenty of Kenergy to theaters over the weekend, helping Greta Gerwig’s Barbie cross the $1B global mark! According to Box Office Mojo, Barbie rollerbladed past the milestone for a $1,031,481,000 worldwide total. The total finds Gerwig becoming the first woman to surpass the billion-dollar climacteric as a solo director.
“As distribution chiefs, we’re not often rendered speechless by a film’s performance, but Barbillion has blown even our most optimistic predictions out of the water,” said Warner Bros’ Jeff Goldstein, President of Domestic Distribution, and Andrew Cripps, President of International Distribution. “This is a watershed moment for Barbie, and no one but Greta Gerwig could have brought this cross-generational icon and her world to life in such a funny, emotional and entertaining story, one that is resonating with all four quadrants of moviegoers and literally turning the entire world pink. Long lines and repeat viewings prove that...
“As distribution chiefs, we’re not often rendered speechless by a film’s performance, but Barbillion has blown even our most optimistic predictions out of the water,” said Warner Bros’ Jeff Goldstein, President of Domestic Distribution, and Andrew Cripps, President of International Distribution. “This is a watershed moment for Barbie, and no one but Greta Gerwig could have brought this cross-generational icon and her world to life in such a funny, emotional and entertaining story, one that is resonating with all four quadrants of moviegoers and literally turning the entire world pink. Long lines and repeat viewings prove that...
- 8/7/2023
- by Steve Seigh
- JoBlo.com
Greta Gerwig is the first solo female director to cross the marker
Warner Bros’ Barbie has passed the $1bn mark at the box office after just 17 days of release, making Greta Gerwig the first solo female director to do so.
According to a statement from the studio, the Margot Robbie-starrer has so far grossed $459.4m from domestic and $572.1m internationally to reach $1.03bn over the weekend.
The only other women to join the $1bn club are Jennifer Lee – who co-directed Frozen ($1.3bn) and Frozen 2 ($1.5bn) with Chris Buck – and Anna Boden, who co-directed Captain Marvel ($1.1bn) with Ryan Fleck.
Warner Bros’ Barbie has passed the $1bn mark at the box office after just 17 days of release, making Greta Gerwig the first solo female director to do so.
According to a statement from the studio, the Margot Robbie-starrer has so far grossed $459.4m from domestic and $572.1m internationally to reach $1.03bn over the weekend.
The only other women to join the $1bn club are Jennifer Lee – who co-directed Frozen ($1.3bn) and Frozen 2 ($1.5bn) with Chris Buck – and Anna Boden, who co-directed Captain Marvel ($1.1bn) with Ryan Fleck.
- 8/7/2023
- by Ellie Calnan
- ScreenDaily
‘Barbie’ has made history by raking in more than $1 billion in global box office gross. The mammoth takings from on director Greta Gerwig’s movie about the Mattel doll, made for a budget around $145 million, makes it the first movie directed solely by a woman to hit the figure. It added another $127 million to its box office internationally over the weekend, bringing its global total to $1.03 billion. Studio representatives are using the phrase “Barbillion” to describe the success of the film, starring Margot Robbie, 33, as Barbie and Ryan Gosling, 42, as Ken. It crossed $400 million domestic and $500 million internationally faster than any other movie at the studio, including the Harry Potter films. Jeff Goldstein and Andrew Cripps, who oversee domestic and international distribution for makers Warner Bros, said in a joint statement: “As distribution chiefs, we're not often rendered speechless by a film’s performance, but Barbillion has blown even our...
- 8/7/2023
- by BANG Showbiz Reporter
- Bang Showbiz
Sequin- and self-actualization sprinkled congratulations are in order for Greta Gerwig, Margot Robbie and all the dolls and guys as the phenomenon that is Barbie has now crossed $1B global in just its third weekend. We said yesterday it was on the cusp, and now here’s the pudding.
Through Sunday, the international box office estimate is an astounding $572.1M for $1.031B worldwide. Gerwig also has become the first woman to surpass the billion-dollar benchmark as a solo director. Double clap!
Said Warner Bros’ Jeff Goldstein, President of Domestic Distribution, and Andrew Cripps, President of International Distribution, “As distribution chiefs, we’re not often rendered speechless by a film’s performance, but Barbillion has blown even our most optimistic predictions out of the water. This is a watershed moment for Barbie, and no one but Greta Gerwig could have brought this cross-generational icon and her world to life in such a funny,...
Through Sunday, the international box office estimate is an astounding $572.1M for $1.031B worldwide. Gerwig also has become the first woman to surpass the billion-dollar benchmark as a solo director. Double clap!
Said Warner Bros’ Jeff Goldstein, President of Domestic Distribution, and Andrew Cripps, President of International Distribution, “As distribution chiefs, we’re not often rendered speechless by a film’s performance, but Barbillion has blown even our most optimistic predictions out of the water. This is a watershed moment for Barbie, and no one but Greta Gerwig could have brought this cross-generational icon and her world to life in such a funny,...
- 8/6/2023
- by Nancy Tartaglione
- Deadline Film + TV
“Barbie” is saying “hiya” to the billion-dollar club.
Greta Gerwig’s pink-coated fantasy comedy has surpassed $1 billion at the global box office, including $459 million in North America and $572 million internationally. This makes Gerwig the first-ever solo female filmmaker with a billion-dollar film.
Three other billion-dollar blockbusters were co-directed by women, including “Frozen” ($1.3 billion) and “Frozen 2” ($1.45 billion) both co-directed by Jennifer Lee and Chris Buck, as well as “Captain Marvel” ($1.1 billion), co-directed by Anna Boden and Ryan Fleck.
“Barbie” is hitting the coveted milestone after just 17 days of release, becoming the fastest Warner Bros. release (and eighth in the studio’s 100-year history) to join the $1 billion club. “Harry Potter and the Deathly Hallows: Part 2” previously held that record at 19 days.
It’s only the second blockbuster this year and the sixth of the pandemic era to cross $1 billion, following “Spider-Man: No Way Home,” “Top Gun: Maverick,” “Jurassic World Dominion...
Greta Gerwig’s pink-coated fantasy comedy has surpassed $1 billion at the global box office, including $459 million in North America and $572 million internationally. This makes Gerwig the first-ever solo female filmmaker with a billion-dollar film.
Three other billion-dollar blockbusters were co-directed by women, including “Frozen” ($1.3 billion) and “Frozen 2” ($1.45 billion) both co-directed by Jennifer Lee and Chris Buck, as well as “Captain Marvel” ($1.1 billion), co-directed by Anna Boden and Ryan Fleck.
“Barbie” is hitting the coveted milestone after just 17 days of release, becoming the fastest Warner Bros. release (and eighth in the studio’s 100-year history) to join the $1 billion club. “Harry Potter and the Deathly Hallows: Part 2” previously held that record at 19 days.
It’s only the second blockbuster this year and the sixth of the pandemic era to cross $1 billion, following “Spider-Man: No Way Home,” “Top Gun: Maverick,” “Jurassic World Dominion...
- 8/6/2023
- by Rebecca Rubin
- Variety Film + TV
A week of studio presentations and discussions, as well as chatter in the halls, at the CineEurope exhibition conference in Barcelona provided some interesting takeaways about the state of cinema and its future. The mood was generally optimistic, but concerns, and room for improvement, remain.
Main talking points included the need for movie theater operators to continue upgrading and providing the best experience possible for patrons as a means to encouraging them out of the house, as well as the strength of Plf screens. A diverse and broad offering is key while there’s still concern about dating with some lulls in the schedule this year. Further, collaboration between exhibition and the studios, who refer to each other as partners but have sometimes been at loggerheads, is growing. Speculation was also rife throughout the week about the timing of Cineworld’s emergence from Chapter 11 and the composition of the exhibition giant’s management team.
Main talking points included the need for movie theater operators to continue upgrading and providing the best experience possible for patrons as a means to encouraging them out of the house, as well as the strength of Plf screens. A diverse and broad offering is key while there’s still concern about dating with some lulls in the schedule this year. Further, collaboration between exhibition and the studios, who refer to each other as partners but have sometimes been at loggerheads, is growing. Speculation was also rife throughout the week about the timing of Cineworld’s emergence from Chapter 11 and the composition of the exhibition giant’s management team.
- 6/24/2023
- by Nancy Tartaglione
- Deadline Film + TV
Warner Bros’ CineEurope show here in Barcelona was a starry, jam-packed affair featuring Zendaya and Timothée Chalamet who talked up Dune: Part Two, as well as their respective upcoming titles Challengers and Wonka. The proceedings kicked off with a pre-taped intro video featuring President of International Theatrical Distribution Andrew Cripps zipping along the 405 in the Barbie car, and with Margot Robbie putting in an appearance. Helen Mirren, who narrates Barbie, also narrated the presentation in a voice over.
On stage, Cripps was sporting The Flash branded sneakers from Puma, rather than the pink Barbie suit he wore at CinemaCon. Quipped the exec, “They may not be as fast as we thought last week, but we think there’s a lot of miles left in them” – a reference to the good holds the studio hopes for.
Warner is “executing an exciting new vision” Cripps said as he launched the show.
Footage...
On stage, Cripps was sporting The Flash branded sneakers from Puma, rather than the pink Barbie suit he wore at CinemaCon. Quipped the exec, “They may not be as fast as we thought last week, but we think there’s a lot of miles left in them” – a reference to the good holds the studio hopes for.
Warner is “executing an exciting new vision” Cripps said as he launched the show.
Footage...
- 6/21/2023
- by Nancy Tartaglione
- Deadline Film + TV
Leadership team set out in India, Southeast Asia, Korea, Japan, Australia and New Zealand.
Warner Bros Discovery has reshuffled its leadership team across Asia Pacific in a bid to become “more locally relevant” with a strategy that is focussed more on individual territories.
The newly merged entertainment giant first laid out changes in India, Southeast Asia and Korea (Ineak), which are overseen by Clement Schwebig, president and managing director for the region.
“I’ve moved quickly to meet with teams from Mumbai, Singapore and Seoul,” said Schwebig in an internal message to staff today (June 9). “Our region will be structured...
Warner Bros Discovery has reshuffled its leadership team across Asia Pacific in a bid to become “more locally relevant” with a strategy that is focussed more on individual territories.
The newly merged entertainment giant first laid out changes in India, Southeast Asia and Korea (Ineak), which are overseen by Clement Schwebig, president and managing director for the region.
“I’ve moved quickly to meet with teams from Mumbai, Singapore and Seoul,” said Schwebig in an internal message to staff today (June 9). “Our region will be structured...
- 6/9/2022
- by Michael Rosser
- ScreenDaily
Click here to read the full article.
Warner Bros. Discovery confirmed Thursday its leadership team for India, Southeast Asia and Korea (Inseak) under Clement Schwebig, who will serve as president and managing director for the region.
The announcement follows a similar set of appointments unveiled Wednesday for Europe, the Middle East and Africa (Emea), which will be led by Priya Dogra, president and managing director for those regions. Both Schwebig and Dogra will report to Gerhard Zeiler, president of international for the newly merged entertainment giant.
“Our region will be structured with a territory focused approach to be more agile and locally relevant,” Schwebig said in an internal letter to staff. “At the same time, we will leverage our scale across the business and region to provide deeper expertise and greater efficiency. This means some functions will be in-country while others are regional.”
Discovery exec Jeeyoung Lee has been named general manager Korea,...
Warner Bros. Discovery confirmed Thursday its leadership team for India, Southeast Asia and Korea (Inseak) under Clement Schwebig, who will serve as president and managing director for the region.
The announcement follows a similar set of appointments unveiled Wednesday for Europe, the Middle East and Africa (Emea), which will be led by Priya Dogra, president and managing director for those regions. Both Schwebig and Dogra will report to Gerhard Zeiler, president of international for the newly merged entertainment giant.
“Our region will be structured with a territory focused approach to be more agile and locally relevant,” Schwebig said in an internal letter to staff. “At the same time, we will leverage our scale across the business and region to provide deeper expertise and greater efficiency. This means some functions will be in-country while others are regional.”
Discovery exec Jeeyoung Lee has been named general manager Korea,...
- 6/9/2022
- by Patrick Brzeski
- The Hollywood Reporter - Movie News
The newly combined Warner Bros Discovery has set out its core leadership teams for India, Southeast Asia and Korea (aka Inseak) under the region’s President and Managing Director Clement Schwebig.
In a note to staff, Schwebig said Inseak will be structured with a territory-focused approach “to be more agile and locally relevant.” At the same time, the company plans to leverage its scale across the business and region to provide “deeper expertise and greater efficiency.” Some functions going forward will be in-country while others are regional. (Scroll down for the full list of appointments)
The update comes a day after Wbd’s Emea leadership team was unveiled under President and Managing Director for the region (excl Poland), Priya Dogra.
Schwebig also noted that along with Japan, Australia and New Zealand President James Gibbons, resources in Content Operations, Insights and Creative Services will be shared.
A handful of executives from...
In a note to staff, Schwebig said Inseak will be structured with a territory-focused approach “to be more agile and locally relevant.” At the same time, the company plans to leverage its scale across the business and region to provide “deeper expertise and greater efficiency.” Some functions going forward will be in-country while others are regional. (Scroll down for the full list of appointments)
The update comes a day after Wbd’s Emea leadership team was unveiled under President and Managing Director for the region (excl Poland), Priya Dogra.
Schwebig also noted that along with Japan, Australia and New Zealand President James Gibbons, resources in Content Operations, Insights and Creative Services will be shared.
A handful of executives from...
- 6/9/2022
- by Nancy Tartaglione
- Deadline Film + TV
Warner Bros. Discovery has set out its India, Southeast Asia and Korea (Inseak) leadership team under Clement Schwebig, as president and managing director.
The Thursday announcement follows just hours after a similar rejig of the Emea leadership team under Priya Dogra.
Both Schwebig and Dogra report to Gerhard Zeiler, president of international for the merged company. Zeiler, a former WarnerMedia executive, now oversees the global channels business with a “dotted line” to international streaming lead Jb Perrette, a Discovery veteran. Zeiler previously held the same role for WarnerMedia, and now also has responsibility for Discovery’s international footprint.
As with the Emea revamp, there is a strong emphasis on territory management. “Our region will be structured with a territory focused approach to be more agile and locally relevant,” Schwebig said in an internal note. “At the same time, we will leverage our scale across the business and region to provide deeper expertise and greater efficiency.
The Thursday announcement follows just hours after a similar rejig of the Emea leadership team under Priya Dogra.
Both Schwebig and Dogra report to Gerhard Zeiler, president of international for the merged company. Zeiler, a former WarnerMedia executive, now oversees the global channels business with a “dotted line” to international streaming lead Jb Perrette, a Discovery veteran. Zeiler previously held the same role for WarnerMedia, and now also has responsibility for Discovery’s international footprint.
As with the Emea revamp, there is a strong emphasis on territory management. “Our region will be structured with a territory focused approach to be more agile and locally relevant,” Schwebig said in an internal note. “At the same time, we will leverage our scale across the business and region to provide deeper expertise and greater efficiency.
- 6/9/2022
- by Patrick Frater
- Variety Film + TV
Veteran distribution and exhibition executive Kurt Rieder has been appointed as head of Asia-Pacific theatrical releasing for Warner Bros. Pictures. Asia is the world’s largest theatrical region, dwarfing North America and including three of the top five theatrical territories.
Singapore-based Rieder joins from Disney, where he had been head of studio distribution and marketing in the Apac region between April 2019 and March 2021. He joined Disney having previously been executive VP of theatrical distribution at Fox since June 2017.
Before that, Rieder had some six years running cinema chains. Between April 2011 and April 2013, he headed Singapore’s largest cinema chain Golden Village. That was followed by operating Mars Cinemas, Turkey’s largest theatrical firm, between May 2013 and October 2016, departing when the company was acquired by South Korea’s Cj-Cgv.
Warner Bros.’ parent company WarnerMedia, now part of AT&T, revamped its Asian management in November last year under regional head Clement Schwebig.
Singapore-based Rieder joins from Disney, where he had been head of studio distribution and marketing in the Apac region between April 2019 and March 2021. He joined Disney having previously been executive VP of theatrical distribution at Fox since June 2017.
Before that, Rieder had some six years running cinema chains. Between April 2011 and April 2013, he headed Singapore’s largest cinema chain Golden Village. That was followed by operating Mars Cinemas, Turkey’s largest theatrical firm, between May 2013 and October 2016, departing when the company was acquired by South Korea’s Cj-Cgv.
Warner Bros.’ parent company WarnerMedia, now part of AT&T, revamped its Asian management in November last year under regional head Clement Schwebig.
- 4/6/2021
- by Patrick Frater
- Variety Film + TV
While writer-director Brad Bird was working on “The Incredibles” at Pixar, he spent a lot of time with studio co-founder Steve Jobs, and he believes some of the things he learned from the late Apple mogul are lessons that movie theater owners should take to heart with moviegoing in crisis.
“We were talking about merchandising and he said, ‘Fewer things, better things,’ and he was dead on,” Bird said Tuesday during a panel on the future of theatrical movies at TheWrap’s virtual edition of TheGrill. “The studios’ focus has always been about the number of screens and not the quality of screens. On opening day, it’s possible to see a $300 million movie on the terrible, Coke-stained five-foot screen with 10 seats, and you should not be able to see a big movie on its opening in those kinds of conditions.”
Bird discussed the state of movie theaters in...
“We were talking about merchandising and he said, ‘Fewer things, better things,’ and he was dead on,” Bird said Tuesday during a panel on the future of theatrical movies at TheWrap’s virtual edition of TheGrill. “The studios’ focus has always been about the number of screens and not the quality of screens. On opening day, it’s possible to see a $300 million movie on the terrible, Coke-stained five-foot screen with 10 seats, and you should not be able to see a big movie on its opening in those kinds of conditions.”
Bird discussed the state of movie theaters in...
- 9/23/2020
- by Jeremy Fuster
- The Wrap
Even though numbers for “Tenet” remain low in the U.S. and theaters face several more months of pandemic-fueled turbulence, Warner Bros.’ head of international distribution, Andrew Cripps, on Tuesday defended the film’s box office performance.
“If I can use a phrase from our chairman, Toby Emmerich: ‘It’s a 30-day opening, not a three-day opening,'” Cripps said at TheWrap’s virtual 2020 edition of TheGrill. “We’re in the fourth week and it’s important to note that as of Sunday we’ve broken $250 million internationally. When you do the math, that’s roughly 30 million people coming to see the movie in theaters, which is remarkable considering the situation we are in right now.”
Cripps was joined on the panel about the state of theatrical distribution by Alamo Drafthouse CEO Shelli Taylor, Skydance President/COO Jesse Sisgold, and filmmakers Brad Bird (“The Incredibles”) and Antoine Fuqua (“Training Day...
“If I can use a phrase from our chairman, Toby Emmerich: ‘It’s a 30-day opening, not a three-day opening,'” Cripps said at TheWrap’s virtual 2020 edition of TheGrill. “We’re in the fourth week and it’s important to note that as of Sunday we’ve broken $250 million internationally. When you do the math, that’s roughly 30 million people coming to see the movie in theaters, which is remarkable considering the situation we are in right now.”
Cripps was joined on the panel about the state of theatrical distribution by Alamo Drafthouse CEO Shelli Taylor, Skydance President/COO Jesse Sisgold, and filmmakers Brad Bird (“The Incredibles”) and Antoine Fuqua (“Training Day...
- 9/22/2020
- by Jeremy Fuster
- The Wrap
Welcome to TheGrill 2020.
For the first time, we are convening our annual summit about the changes that technology brings to the entertainment industry — over a streaming platform. Now that seems almost normal. Eight months ago, I didn’t dream of such a thing.
But of course, eight months ago the world was a different place.
With a global pandemic impacting every aspect of entertainment, media, politics and culture, accelerating all the trends we’ve examined at TheGrill for the last 10 years, it is a remarkable moment in time, one that will be discussed, debated and analyzed for decades to come.
The next three days will be part of the first draft of history. This year, TheGrill provides a forum for urgent issues that will define the immediate future of the entertainment business. We have worked hard to bring together some exciting voices that will speak to the moment we are in,...
For the first time, we are convening our annual summit about the changes that technology brings to the entertainment industry — over a streaming platform. Now that seems almost normal. Eight months ago, I didn’t dream of such a thing.
But of course, eight months ago the world was a different place.
With a global pandemic impacting every aspect of entertainment, media, politics and culture, accelerating all the trends we’ve examined at TheGrill for the last 10 years, it is a remarkable moment in time, one that will be discussed, debated and analyzed for decades to come.
The next three days will be part of the first draft of history. This year, TheGrill provides a forum for urgent issues that will define the immediate future of the entertainment business. We have worked hard to bring together some exciting voices that will speak to the moment we are in,...
- 9/22/2020
- by Sharon Waxman
- The Wrap
TheGrill is pleased to welcome award-winning filmmakers Brad Bird and Antoine Fuqua, former IMAX Entertainment CEO Greg Foster, Alamo Drafthouse CEO Shelli Taylor, Skydance president and COO Jesse Sisgold and Warner Bros. Pictures president of international theatrical distribution Andrew Cripps for a powerhouse conversation on “The Future of Theatrical Film” at the three-day Grill conference September 22-24.
Across the world movie theaters have closed, festivals have been cancelled or postponed, film releases have moved to future dates or delayed indefinitely and film production has largely halted. While Hollywood is bracing itself for more changes due to coronavirus, industry leaders are finding new ways to adapt and think outside the box. This high-level panel of executives, experts and filmmakers will address what the future holds for the theatrical experience, and movies in general.
For over a decade, TheWrap’s Grill event series has led conversations on the convergence between entertainment, media and technology,...
Across the world movie theaters have closed, festivals have been cancelled or postponed, film releases have moved to future dates or delayed indefinitely and film production has largely halted. While Hollywood is bracing itself for more changes due to coronavirus, industry leaders are finding new ways to adapt and think outside the box. This high-level panel of executives, experts and filmmakers will address what the future holds for the theatrical experience, and movies in general.
For over a decade, TheWrap’s Grill event series has led conversations on the convergence between entertainment, media and technology,...
- 9/21/2020
- by Emily Vogel
- The Wrap
Harry Potter and the Sorcerer’s Stone hit theaters on November 16th, 2001, kicking off the hugely successful eight-film series that dominated the box office during the 2000s. The Chris Columbus movie introduced the world to Daniel Radcliffe, Rupert Grint and Emma Watson and has continued to entertain new generations long after its theatrical run ended.
But said theatrical run has just had a sudden spurt of life. In some territories, cinemas are reopening, but with major blockbusters still delayed, they’re struggling to fill their schedules. As such, we’ve seen many classic movies revived for theatrical runs, with Harry Potter and the Sorceror’s Stone being re-released in international markets over the weekend of August 14th.
The release saw it earn a million dollars, which means it belatedly joins the $1 billion club, now having a new lifetime box office total of $1,001,260,000. This makes it the second Harry Potter film to break the billion mark,...
But said theatrical run has just had a sudden spurt of life. In some territories, cinemas are reopening, but with major blockbusters still delayed, they’re struggling to fill their schedules. As such, we’ve seen many classic movies revived for theatrical runs, with Harry Potter and the Sorceror’s Stone being re-released in international markets over the weekend of August 14th.
The release saw it earn a million dollars, which means it belatedly joins the $1 billion club, now having a new lifetime box office total of $1,001,260,000. This makes it the second Harry Potter film to break the billion mark,...
- 8/24/2020
- by David James
- We Got This Covered
Specific timing on China release to be announced at later date.
Warner Bros said on Monday (July 27) it will release Christopher Nolan’s Tenet in more than 70 countries starting on Aug 26 including the UK, two weeks ahead of a select US release.
The new plan, hatched after the studio temporarily pulled the sci-fi thriller from the US calendar last week amid rising Covid infections, will come as a relief to international exhibitors, many of whom have reopened their sites across parts of Europe and Asia and are in urgent need of new content.
Tenet will open in UK, Australia, Canada,...
Warner Bros said on Monday (July 27) it will release Christopher Nolan’s Tenet in more than 70 countries starting on Aug 26 including the UK, two weeks ahead of a select US release.
The new plan, hatched after the studio temporarily pulled the sci-fi thriller from the US calendar last week amid rising Covid infections, will come as a relief to international exhibitors, many of whom have reopened their sites across parts of Europe and Asia and are in urgent need of new content.
Tenet will open in UK, Australia, Canada,...
- 7/27/2020
- by 36¦Jeremy Kay¦54¦
- ScreenDaily
A small group of Chinese move theater owners have cancelled plans to attend this year’s CinemaCon, the annual gathering of global exhibitors in Las Vegas, Variety has learned.
A delegation of roughly 24 people from China have pulled out over travel restrictions in the region, a spokesperson for the National Organization of Theater Owners, which produces the conference, told Variety. The event is scheduled to run March 30 to April 2, and is moving forward as planned. Nato will continue to monitor advisories from the state department and the Center for Disease Control.
Insiders at the major studios — which mount splashy presentations with exclusive footage and appearances from movie stars to woo theater owners — were buzzing on Monday over the possibility of a full-stop cancellation. Top film distribution chiefs worried that exhibitors might voluntarily stay home from a tourist epicenter like Las Vegas, and that the federal government might in turn seek...
A delegation of roughly 24 people from China have pulled out over travel restrictions in the region, a spokesperson for the National Organization of Theater Owners, which produces the conference, told Variety. The event is scheduled to run March 30 to April 2, and is moving forward as planned. Nato will continue to monitor advisories from the state department and the Center for Disease Control.
Insiders at the major studios — which mount splashy presentations with exclusive footage and appearances from movie stars to woo theater owners — were buzzing on Monday over the possibility of a full-stop cancellation. Top film distribution chiefs worried that exhibitors might voluntarily stay home from a tourist epicenter like Las Vegas, and that the federal government might in turn seek...
- 2/26/2020
- by Matt Donnelly
- Variety Film + TV
Former Fox executive Dan Berger has joined Amblin Partners as executive vice president and head of communications as part of a leadership change in its marketing and communications department, the company announced on Friday.
In this role, Berger will oversee all of Amblin’s corporate communications, marketing, publicity, and serve as chief spokesman for Amblin co-founder and chairman Steven Spielberg.
As part of the shift in leadership, legendary publicist and marketer Marvin Levy will move into a new role as senior advisor to Spielberg.
Also Read: Steven Spielberg's 'West Side Story' Offers First Look at Ariana DeBose as Anita
“The term ‘second family’ is often used to reference the very closest relationships we build in the workplace, but that term does little justice to the collaboration that Marvin Levy and I have enjoyed as we enter the fifth decade of our working friendship,” Spielberg said in a statement.
In this role, Berger will oversee all of Amblin’s corporate communications, marketing, publicity, and serve as chief spokesman for Amblin co-founder and chairman Steven Spielberg.
As part of the shift in leadership, legendary publicist and marketer Marvin Levy will move into a new role as senior advisor to Spielberg.
Also Read: Steven Spielberg's 'West Side Story' Offers First Look at Ariana DeBose as Anita
“The term ‘second family’ is often used to reference the very closest relationships we build in the workplace, but that term does little justice to the collaboration that Marvin Levy and I have enjoyed as we enter the fifth decade of our working friendship,” Spielberg said in a statement.
- 9/13/2019
- by Trey Williams
- The Wrap
When it comes to The Greatest Showman‘s theatrical business, it’s been a real sostenuto for 20th Century Fox and producer Chernin Entertainment after starting off on a low note at the Christmas box office.
Buried in the shadows of the behemoth holiday success of Star Wars: The Last Jedi ($1.3 billion global B.O.) and Jumanji: Welcome to the Jungle ($943.7M) in addition to falling short of any electric awards season buzz, it seemed all was lost for the Hugh Jackman period musical about P.T. Barnum which opened to lackluster reviews and a dim $13.4M 5-day domestic debut.
However, Fox always had a sense based on the stellar female exit scores and the turnout by Broadway-philes that The Greatest Showman would ultimately be worthy of a standing ovation; a box office slow burn which in the U.S. and Canada played wide in north of 1,000 theaters for 11 weekends,...
Buried in the shadows of the behemoth holiday success of Star Wars: The Last Jedi ($1.3 billion global B.O.) and Jumanji: Welcome to the Jungle ($943.7M) in addition to falling short of any electric awards season buzz, it seemed all was lost for the Hugh Jackman period musical about P.T. Barnum which opened to lackluster reviews and a dim $13.4M 5-day domestic debut.
However, Fox always had a sense based on the stellar female exit scores and the turnout by Broadway-philes that The Greatest Showman would ultimately be worthy of a standing ovation; a box office slow burn which in the U.S. and Canada played wide in north of 1,000 theaters for 11 weekends,...
- 3/29/2018
- by Nancy Tartaglione
- Deadline Film + TV
The Hollywood Reporter and several other major outlets reveal that Iron Man and Iron Man 2 director Jon Favreau's next movie will be released on IMAX screens as well as conventional ones in the Us later this month. (and throughout the rest of the world come August) This is bound to have an impact on the its box office takings, but will you be forking out a little more to check out Cowboys & Aliens in IMAX? DreamWorks Pictures and Paramount Pictures International are to release the sci-fi western Cowboys & Aliens internationally in Imax theaters day-and-date with each territory's rollout. "This release marks the continuation of the fantastic relationship we have with Imax and we are thrilled that fans will have the ability to experience it this way,” Andrew Cripps, president of Paramount Pictures International, said in a statement. Directed by Jon Favreau and starring Daniel Craig, Harrison Ford and Olivia Wilde,...
- 7/12/2011
- ComicBookMovie.com
By Sean O’Connell
Hollywoodnews.com: IMAX Corporation, DreamWorks Pictures and Paramount Pictures International announced that Jon Favreau’s upcoming sci-fi adventure “Cowboys & Aliens” will open in select international digital IMAX theaters day-and-date with each territory’s release date, beginning in August.
“We are delighted to be able to offer international audiences the opportunity to experience the amazing visuals and spectacle of Cowboys and Aliens in IMAX,” said Andrew Cripps, President of Paramount Pictures International. “This release marks the continuation of the fantastic relationship we have with IMAX and we are thrilled that fans will have the ability to experience it this way.”
“Jon Favreau’s unique and innovative filmmaking style has an exceptional history with international moviegoers and his films have become fan favorites,” said Greg Foster, Chairman and President, IMAX Filmed Entertainment. “We’re excited to once again join forces with him and our partners at DreamWorks Pictures...
Hollywoodnews.com: IMAX Corporation, DreamWorks Pictures and Paramount Pictures International announced that Jon Favreau’s upcoming sci-fi adventure “Cowboys & Aliens” will open in select international digital IMAX theaters day-and-date with each territory’s release date, beginning in August.
“We are delighted to be able to offer international audiences the opportunity to experience the amazing visuals and spectacle of Cowboys and Aliens in IMAX,” said Andrew Cripps, President of Paramount Pictures International. “This release marks the continuation of the fantastic relationship we have with IMAX and we are thrilled that fans will have the ability to experience it this way.”
“Jon Favreau’s unique and innovative filmmaking style has an exceptional history with international moviegoers and his films have become fan favorites,” said Greg Foster, Chairman and President, IMAX Filmed Entertainment. “We’re excited to once again join forces with him and our partners at DreamWorks Pictures...
- 7/12/2011
- by Sean O'Connell
- Hollywoodnews.com
Viacom18, a 50:50 joint venture between Network 18 and Viacom Inc. and Paramount Pictures International recently announced a strategic business alliance for India and the Indian sub-continent markets. The alliance will see Viacom18 Motion Pictures distribute Paramount's theatrical releases in India, Bangladesh and Sri Lanka beginning with one of India's most popular Hollywood franchises, Transformers: Dark Of The Moon directed by Michael Bay, which will be released on July 1, 2011. This will continue with Paramount's forthcoming slate including Super 8, directed by Jj Abrams and produced by Steven Spielberg and Mission Impossible 4, starring Tom Cruise and directed by Brad Bird. The announcement was made at a press conference in Mumbai, India by Haresh Chawla, Group CEO - Viacom 18, Andrew Cripps, President, Paramount Pictures International, and Vikram Malhotra, COO - Viacom 18 Motion Pictures. Haresh Chawla, Group CEO - Viacom 18 said, "Filmed Entertainment is core to mass entertainment franchises, like Colors, that we are...
- 5/24/2011
- by Bollywood Hungama News Network
- BollywoodHungama
Viacom18, a 50:50 joint venture between Network 18 and Viacom Inc. and Paramount Pictures International recently announced a strategic business alliance for India and the Indian sub-continent markets. The alliance will see Viacom18 Motion Pictures distribute Paramount's theatrical releases in India, Bangladesh and Sri Lanka beginning with one of India's most popular Hollywood franchises, Transformers: Dark Of The Moon directed by Michael Bay, which will be released on July 1, 2011. This will continue with Paramount's forthcoming slate including Super 8, directed by Jj Abrams and produced by Steven Spielberg and Mission Impossible 4, starring Tom Cruise and directed by Brad Bird. The announcement was made at a press conference in Mumbai, India by Haresh Chawla, Group CEO - Viacom 18, Andrew Cripps, President, Paramount Pictures International, and Vikram Malhotra, COO - Viacom 18 Motion Pictures. Haresh Chawla, Group CEO - Viacom 18 said, "Filmed Entertainment is core to mass entertainment franchises, like Colors, that we are...
- 5/24/2011
- by Bollywood Hungama News Network
- BollywoodHungama
Viacom 18 will now distribute the theatrical releases of Paramount Pictures International in India, Sri Lanka and Bangladesh. The first project to be distributed after the alliance is Transformers: Dark of the Moon directed by Micheal Bay which will be released on July 1st 2011.
The announcement of the alliance between Viacom 18 and Paramount Pictures International was made at a press conference in Mumbai by Haresh Chawla, Group CEO – Viacom 18, Andrew Cripps, President, Paramount Pictures International, and Vikram Malhotra, COO – Viacom 18 Motion Pictures.
The lineup that will follow includes Super 8 directed by Jj Abrams and produced by Steven Spielberg and Mission Impossible 4 directed by Brad Bird.
Viacom 18 is a joint venture operation between Viacom Inc. and the Network 18 group. Paramount Pictures International is a Viacom company.
The announcement of the alliance between Viacom 18 and Paramount Pictures International was made at a press conference in Mumbai by Haresh Chawla, Group CEO – Viacom 18, Andrew Cripps, President, Paramount Pictures International, and Vikram Malhotra, COO – Viacom 18 Motion Pictures.
The lineup that will follow includes Super 8 directed by Jj Abrams and produced by Steven Spielberg and Mission Impossible 4 directed by Brad Bird.
Viacom 18 is a joint venture operation between Viacom Inc. and the Network 18 group. Paramount Pictures International is a Viacom company.
- 5/19/2011
- by NewsDesk
- DearCinema.com
By Sean O’Connell
Hollywoodnews.com: Yesterday we reported that the domestic box office – while able to cross $10 billion for a second consecutive year – was still down from the previous year. Not by much. But down.
Overseas, we’re hearing a different story. The release of films like James Cameron’s “Avatar” and other 3D efforts helped foreign ticket sales to rise by nearly 20 percent, leading to record high totals in 2010, according to The Hollywood Reporter.
Preliminary estimates claim that receipts for the six major Hollywood studios “will total $12.7 billion, breaking the $10.7 billion record set in 2009,” THR reports.
And increased 3D ticket prices receive the bulk of the credit because attendance levels pretty much stayed the same (or even dipped in a few countries).
“2010 was certainly the year when 3D had a major impact on box office, with eight of the top 15 international titles (presented) in 3D,” said Andrew Cripps,...
Hollywoodnews.com: Yesterday we reported that the domestic box office – while able to cross $10 billion for a second consecutive year – was still down from the previous year. Not by much. But down.
Overseas, we’re hearing a different story. The release of films like James Cameron’s “Avatar” and other 3D efforts helped foreign ticket sales to rise by nearly 20 percent, leading to record high totals in 2010, according to The Hollywood Reporter.
Preliminary estimates claim that receipts for the six major Hollywood studios “will total $12.7 billion, breaking the $10.7 billion record set in 2009,” THR reports.
And increased 3D ticket prices receive the bulk of the credit because attendance levels pretty much stayed the same (or even dipped in a few countries).
“2010 was certainly the year when 3D had a major impact on box office, with eight of the top 15 international titles (presented) in 3D,” said Andrew Cripps,...
- 12/30/2010
- by Sean O'Connell
- Hollywoodnews.com
Foreign box office was hurtling along at a record pace for the year's first half but took a bit of a holiday during the summer.
International audiences were distracted by the June 11-July 11 World Cup soccer tournament in South Africa. The quadrennial event turned out to be one of history's most-viewed sporting events.
Hollywood majors also had to grapple with a strengthening greenback that depressed dollar amounts when weaker local currencies were converted into U.S. dollars for repatriation. Small wonder that half the studios reported drops in seasonal box office from a year ago.
Still, distributors remain on track to log another record year on the foreign theatrical circuit. All except Sony are logging year-over-year foreign box-office increases from January-August.
Leading the pack during the summer was Disney, which rocketed 232% past 2009's seasonal overseas box-office total with $1.09 billion, largely on the backs of the summer's No. 1 title, "Toy Story 3...
International audiences were distracted by the June 11-July 11 World Cup soccer tournament in South Africa. The quadrennial event turned out to be one of history's most-viewed sporting events.
Hollywood majors also had to grapple with a strengthening greenback that depressed dollar amounts when weaker local currencies were converted into U.S. dollars for repatriation. Small wonder that half the studios reported drops in seasonal box office from a year ago.
Still, distributors remain on track to log another record year on the foreign theatrical circuit. All except Sony are logging year-over-year foreign box-office increases from January-August.
Leading the pack during the summer was Disney, which rocketed 232% past 2009's seasonal overseas box-office total with $1.09 billion, largely on the backs of the summer's No. 1 title, "Toy Story 3...
- 9/7/2010
- by By Frank Segers
- The Hollywood Reporter - Movie News
London -- The greatest show on turf, the FIFA World Cup soccer tournament, kicks off Friday in South Africa for a month of sporting highs and lows.
And for most European consumers, the tournament is a welcome boost providing free entertainment as austerity measures by governments sweep across Europe and household budgets tighten.
Broadcast around the globe, the organizers earn in excess of $3.4 billion from rights fees and sponsorships and by the end of the event, billions of people will have tuned in. Those audiences, in turn, will boost advertising revenue for hosting channels. That's particularly true in Europe, the richest market for World Cup broadcasts, which will benefit from having many of the matches air in primetime.
Wpp, one of the world's leading ad buyers, is forecasting a major World Cup-related bump, providing much-needed relief for Europe's recession-battered networks. Commercial channel ITV, which is sharing World Cup rights in Britain with the BBC,...
And for most European consumers, the tournament is a welcome boost providing free entertainment as austerity measures by governments sweep across Europe and household budgets tighten.
Broadcast around the globe, the organizers earn in excess of $3.4 billion from rights fees and sponsorships and by the end of the event, billions of people will have tuned in. Those audiences, in turn, will boost advertising revenue for hosting channels. That's particularly true in Europe, the richest market for World Cup broadcasts, which will benefit from having many of the matches air in primetime.
Wpp, one of the world's leading ad buyers, is forecasting a major World Cup-related bump, providing much-needed relief for Europe's recession-battered networks. Commercial channel ITV, which is sharing World Cup rights in Britain with the BBC,...
- 6/10/2010
- by By Stuart Kemp and Scott Roxborough
- The Hollywood Reporter - Movie News
London -- Paramount Pictures International has lured Ian George into the fold, appointing him evp, international marketing for the studio's overseas releasing arm headquartered here.
George, whose resume boasts stints at 20th Century Fox, Warner Bros. and French-owned Pathe, joins Paramount in the fall this year.
Ppi president Andrew Cripps, announcing the hire, said George's arrival is good timing as the outfit preps a release slate including upcoming movies such as "Jackass 3D," "True Grit" and "Little Fockers."
George said: "The international theatrical market is vibrant and growing and it's great to be a part of it."
As George enters the building Jon Anderson, incumbent evp, marketing for Ppi will leave it at the end of 2010 to return to his native Australia.
Anderson has headed up the marketing function for Ppi since its inception in 2007 and presided over two consecutive record breaking years for the studio.
"We thank Jon for...
George, whose resume boasts stints at 20th Century Fox, Warner Bros. and French-owned Pathe, joins Paramount in the fall this year.
Ppi president Andrew Cripps, announcing the hire, said George's arrival is good timing as the outfit preps a release slate including upcoming movies such as "Jackass 3D," "True Grit" and "Little Fockers."
George said: "The international theatrical market is vibrant and growing and it's great to be a part of it."
As George enters the building Jon Anderson, incumbent evp, marketing for Ppi will leave it at the end of 2010 to return to his native Australia.
Anderson has headed up the marketing function for Ppi since its inception in 2007 and presided over two consecutive record breaking years for the studio.
"We thank Jon for...
- 6/3/2010
- by By Stuart Kemp
- The Hollywood Reporter - Movie News
Running June 11-July 11 in South Africa, the World Cup should be a boon for satellite TV providers, but it has given Hollywood film executives a collective headache.
By carving out a full 30 days smack in the middle of the busiest season on the foreign theatrical calendar, the quadrennial -- and most-watched -- sports event has forced studio distribution units to execute intricate overseas booking maneuvers to avoid opening their biggest movies during the soccer-saturated period. As a result, annual international boxoffice could slip from last year's record tally.
In the U.K., the major's biggest foreign market, boxoffice dipped 1% and admissions slid 5% when Germany hosted the most recent World Cup in 2006.
"Many countries come to a standstill during the World Cup games, especially if the home team is playing," Warner Bros. international distribution president Veronika Kwan-Rubinek said. "In the football-crazy countries, theater admissions are down dramatically on the days of the games,...
By carving out a full 30 days smack in the middle of the busiest season on the foreign theatrical calendar, the quadrennial -- and most-watched -- sports event has forced studio distribution units to execute intricate overseas booking maneuvers to avoid opening their biggest movies during the soccer-saturated period. As a result, annual international boxoffice could slip from last year's record tally.
In the U.K., the major's biggest foreign market, boxoffice dipped 1% and admissions slid 5% when Germany hosted the most recent World Cup in 2006.
"Many countries come to a standstill during the World Cup games, especially if the home team is playing," Warner Bros. international distribution president Veronika Kwan-Rubinek said. "In the football-crazy countries, theater admissions are down dramatically on the days of the games,...
- 4/29/2010
- by By Frank Segers
- The Hollywood Reporter - Movie News
London -- Paramount Pictures International is shuffling its bean counters with the appointment of Lauren Miller as exec vp, finance of the studio's overseas releasing division.
Miller joins from Warner Bros, where she was most recently vp, finance in Warner's Home Video International department.
Her hire was announced Wednesday here by Paramount Pictures CFO Mark Badagliacca and PPI president Andrew Cripps.
Miller is charged with taking care of all financial aspects across Paramount's global international theatrical businesses.
Miller joins from Warner Bros, where she was most recently vp, finance in Warner's Home Video International department.
Her hire was announced Wednesday here by Paramount Pictures CFO Mark Badagliacca and PPI president Andrew Cripps.
Miller is charged with taking care of all financial aspects across Paramount's global international theatrical businesses.
- 1/13/2010
- by By Stuart Kemp
- The Hollywood Reporter - Movie News
London -- Paramount Pictures International, the studio's overseas releasing arm, has wooed the U.K. rights to "My Last Five Girlfriends," a romantic comedy from British production label Willing Pilowsky Media.
Ppi said it plans to roll the Julian Kemp-directed movie in March next year.
The film took a bow at the Tribeca Film Festival in April and unspooled in the U.K. at the Edinburgh International Film Festival in June.
It is the first production from Willing Pilowsky, a partnership between David Willing and Marion Pilowsky. L.A.-based Media 8 is handling international sales and will show the title during next month's American Film Market.
The film stars newcomer Brendan Patricks with Naomie Harris, Jane March and Cecile Cassel in the story of a man looking back at his former loves.
Ppi president Andrew Cripps said: "We are always on the look out for smart, locally produced films...
Ppi said it plans to roll the Julian Kemp-directed movie in March next year.
The film took a bow at the Tribeca Film Festival in April and unspooled in the U.K. at the Edinburgh International Film Festival in June.
It is the first production from Willing Pilowsky, a partnership between David Willing and Marion Pilowsky. L.A.-based Media 8 is handling international sales and will show the title during next month's American Film Market.
The film stars newcomer Brendan Patricks with Naomie Harris, Jane March and Cecile Cassel in the story of a man looking back at his former loves.
Ppi president Andrew Cripps said: "We are always on the look out for smart, locally produced films...
- 10/26/2009
- by By Stuart Kemp
- The Hollywood Reporter - Movie News
London -- Paramount Pictures International, the overseas releasing operation for Paramount, has said "We Want Sex" in the U.K., Australia and New Zealand, snapping up the Nigel Cole-directed British comedy for the trio of territories.
Ppi has secured the distribution rights to Cole's movie which stars Sally Hawkins and a glittering support cast including Andrea Riseborough, Bob Hoskins, Daniel Mays, Geraldine James, Jaime Winstone, Kenneth Cranham, Miranda Richardson, Roger Lloyd-Pack, Rosamund Pike, Rupert Graves and Richard Schiff.
The movie details the story of Rita O'Grady (Hawkins), the catalyst for the 1968 Ford Dagenham strike by 187 sewing machinists which led to the advent of the Equal Pay Act.
Penned by Billy Ivory, the movie is produced by Number 9 Films' Stephen Woolley and Elizabeth Karlsen.
It is backed by BBC Films, the U.K. Film Council's Premiere Fund, Bms Finance and Lip Sync Productions with HanWay Films handling worldwide sales.
Ppi has secured the distribution rights to Cole's movie which stars Sally Hawkins and a glittering support cast including Andrea Riseborough, Bob Hoskins, Daniel Mays, Geraldine James, Jaime Winstone, Kenneth Cranham, Miranda Richardson, Roger Lloyd-Pack, Rosamund Pike, Rupert Graves and Richard Schiff.
The movie details the story of Rita O'Grady (Hawkins), the catalyst for the 1968 Ford Dagenham strike by 187 sewing machinists which led to the advent of the Equal Pay Act.
Penned by Billy Ivory, the movie is produced by Number 9 Films' Stephen Woolley and Elizabeth Karlsen.
It is backed by BBC Films, the U.K. Film Council's Premiere Fund, Bms Finance and Lip Sync Productions with HanWay Films handling worldwide sales.
- 9/3/2009
- by By Stuart Kemp
- The Hollywood Reporter - Movie News
The industry's conundrum: Boxoffice is booming, but the credit crunch is keeping exhibitors from rolling out new theater systems as quickly as they'd like.
"It seems like we have one foot in the present and one in the future due to the financial markets," said Lee Roy Mitchell, chairman of the large Cinemark theater chain and a decades-long fixture on ShoWest panels like the one that kicked off the annual confab Monday.
The weekend's monster opening for DreamWorks Animation's "Monsters vs. Aliens" was ample validation that the industry's costly rollout of digital and 3-D projection systems will pay off quickly, Mitchell said. But he noted that financing for such equipment rollouts remains stuck in low gear.
Still, much of the well-attended panel, moderated by The Hollywood Reporter editor Elizabeth Guider, swung on a much more quality problem: how to manage the boxoffice boom in a manner befitting the economic climate.
"It seems like we have one foot in the present and one in the future due to the financial markets," said Lee Roy Mitchell, chairman of the large Cinemark theater chain and a decades-long fixture on ShoWest panels like the one that kicked off the annual confab Monday.
The weekend's monster opening for DreamWorks Animation's "Monsters vs. Aliens" was ample validation that the industry's costly rollout of digital and 3-D projection systems will pay off quickly, Mitchell said. But he noted that financing for such equipment rollouts remains stuck in low gear.
Still, much of the well-attended panel, moderated by The Hollywood Reporter editor Elizabeth Guider, swung on a much more quality problem: how to manage the boxoffice boom in a manner befitting the economic climate.
- 3/30/2009
- by By Carl DiOrio
- The Hollywood Reporter - Movie News
Special report: 3-D Cinema
3-D push ups the ante for Imax
If the 3-D movie revolution is going to be the shot in the arm hoped for by filmmakers, distributors and exhibitors, it will need to be a global injection.
At the moment, while more Americans are seeing movies in three dimensions, the international theatrical market seems rather flat.
As Jeffrey Katzenberg continues his worldwide pilgrimage playing pitchman for "Monsters vs. Aliens" and the revolution of 3-D cinema, the jury is out on how ready international markets are for the transition.
"The difference between normal cinema and 3-D is like the difference between a horse and buggy and a Ferrari," Katzenberg recently told a group of skeptical journalists in Berlin, sounding more like a telemarketer than one of Hollywood's top producers.
The world is starting to catch up. Paramount Pictures International plans to push "Monsters" onto about 10,000 screens internationally, of which about 1,600 will be 3-D,...
3-D push ups the ante for Imax
If the 3-D movie revolution is going to be the shot in the arm hoped for by filmmakers, distributors and exhibitors, it will need to be a global injection.
At the moment, while more Americans are seeing movies in three dimensions, the international theatrical market seems rather flat.
As Jeffrey Katzenberg continues his worldwide pilgrimage playing pitchman for "Monsters vs. Aliens" and the revolution of 3-D cinema, the jury is out on how ready international markets are for the transition.
"The difference between normal cinema and 3-D is like the difference between a horse and buggy and a Ferrari," Katzenberg recently told a group of skeptical journalists in Berlin, sounding more like a telemarketer than one of Hollywood's top producers.
The world is starting to catch up. Paramount Pictures International plans to push "Monsters" onto about 10,000 screens internationally, of which about 1,600 will be 3-D,...
- 3/26/2009
- by By Scott Roxborough and Stuart Kemp
- The Hollywood Reporter - Movie News
London -- The fifth annual Raam Award winners in the U.K. and Irish film distribution and cinema exhibition categories were announced in London on Wednesday night.
During a gala ceremony at London's Millennium Mayfair Hotel, which raised funds for the Cinema & Television Benevolent Fund, the Raam international award was presented to Michael G. Wilson and Barbara Broccoli on recognition of the outstanding boxoffice achievements of the James Bond franchise.
Universal Pictures International picked up two awards -- best movie for "Mamma Mia!" and the nod for top distributor in the U.K. and Ireland in 2008.
In the awards for top performance in exhibition, Vue repeated its success of last year, again winning the award for best circuit in the U.K. and Ireland.
Entertainment Films ruled the independent distributor category for its release of “Sex and the City.”
Andrew Cripps, president, Paramount Pictures International received the international industry achievement award,...
During a gala ceremony at London's Millennium Mayfair Hotel, which raised funds for the Cinema & Television Benevolent Fund, the Raam international award was presented to Michael G. Wilson and Barbara Broccoli on recognition of the outstanding boxoffice achievements of the James Bond franchise.
Universal Pictures International picked up two awards -- best movie for "Mamma Mia!" and the nod for top distributor in the U.K. and Ireland in 2008.
In the awards for top performance in exhibition, Vue repeated its success of last year, again winning the award for best circuit in the U.K. and Ireland.
Entertainment Films ruled the independent distributor category for its release of “Sex and the City.”
Andrew Cripps, president, Paramount Pictures International received the international industry achievement award,...
- 2/6/2009
- by By Ralf Ludemann
- The Hollywood Reporter - Movie News
Brad Grey's tenure as Paramount Pictures Motion Pictures Group chairman and CEO received a vote of confidence Wednesday as Viacom extended his contract, which was set to expire next year, to 2014.
Grey, who left behind a career as a talent manager and producer when he joined Paramount in 2005, had been in discussions for several months with Viacom president and CEO Philippe Dauman about a new, long-term deal.
"Frankly, I'm enjoying the job," Grey said of his decision to re-up. "Even though we are going through a challenging economic moment, I feel optimistic and bullish about our team at Paramount, the filmmakers we are working with and the pictures that we have coming up."
Paramount was the reigning domestic boxoffice champ of 2007, with 15.5% market share; even though it was eclipsed by domestic leader Warners in 2008, Paramount increased that share to 16.5%, distributing three of the top six grossers of the year:...
Grey, who left behind a career as a talent manager and producer when he joined Paramount in 2005, had been in discussions for several months with Viacom president and CEO Philippe Dauman about a new, long-term deal.
"Frankly, I'm enjoying the job," Grey said of his decision to re-up. "Even though we are going through a challenging economic moment, I feel optimistic and bullish about our team at Paramount, the filmmakers we are working with and the pictures that we have coming up."
Paramount was the reigning domestic boxoffice champ of 2007, with 15.5% market share; even though it was eclipsed by domestic leader Warners in 2008, Paramount increased that share to 16.5%, distributing three of the top six grossers of the year:...
- 1/7/2009
- by By Gregg Kilday and Jay A. Fernandez
- The Hollywood Reporter - Movie News
AMSTERDAM -- Studio anxiety over the slow pace of Europe's conversion to digital cinema was apparent Thursday at a closing-day seminar at Cinema Expo.
"If we're not operating in an all-digital environment in 10 years, we will have missed the boat," Warner Bros. international distribution president Veronika Kwan-Rubinek said.
Universal's London-based executive vp international distribution Duncan Clark said the installation of digital projectors in 80% or so of the region's cinemas might be a more realistic goal.
"There's a critical mass that needs to be reached," Clark said.
But other participants in the panel discussion -- dubbed "The Industry Speaks Out" and moderated by The Hollywood Reporter's U.K. bureau chief Stuart Kemp -- noted costs of distributing prints and digital copies of movies represents a double whammy for studios. That's because the majors have agreed to continue to pay "virtual print fees" for years to come to fund the installation of digital systems in the U.S. and Europe.
"Not in my lifetime", Disney international distribution president Anthony Marcoly responded after being asked by Kemp when theatrical distribution might go all-digital.
"How long are you going to live?" Paramount's international boss Andrew Cripps demanded with mock severity.
"If we're not operating in an all-digital environment in 10 years, we will have missed the boat," Warner Bros. international distribution president Veronika Kwan-Rubinek said.
Universal's London-based executive vp international distribution Duncan Clark said the installation of digital projectors in 80% or so of the region's cinemas might be a more realistic goal.
"There's a critical mass that needs to be reached," Clark said.
But other participants in the panel discussion -- dubbed "The Industry Speaks Out" and moderated by The Hollywood Reporter's U.K. bureau chief Stuart Kemp -- noted costs of distributing prints and digital copies of movies represents a double whammy for studios. That's because the majors have agreed to continue to pay "virtual print fees" for years to come to fund the installation of digital systems in the U.S. and Europe.
"Not in my lifetime", Disney international distribution president Anthony Marcoly responded after being asked by Kemp when theatrical distribution might go all-digital.
"How long are you going to live?" Paramount's international boss Andrew Cripps demanded with mock severity.
- 6/26/2008
- The Hollywood Reporter - Movie News
LONDON -- Paramount Pictures International has passed the $1 billion mark at the international boxoffice in 2008, six weeks faster than it did in setting a record last year.
The studio-owned overseas releasing arm, in its second full year of operation, passed the benchmark Saturday.
The record success has been built on a host of strong boxoffice hits, including "Iron Man", "Kung Fu Panda" and the return of Steven Spielberg and Lucasfilm's adventurer Indiana Jones.
"Indiana Jones and the Kingdom of the Crystal Skull," the fourth film in the series, has grossed more than $350 million from international markets, with Japan set to launch Saturday.
In 2007, PPI grossed $1.6 billion for the year.
PPI president Andrew Cripps attributed the benchmark to the "continued growth of the international marketplace, the fantastic films that we have for international distribution and the first-class team we have working for PPI around the world."...
The studio-owned overseas releasing arm, in its second full year of operation, passed the benchmark Saturday.
The record success has been built on a host of strong boxoffice hits, including "Iron Man", "Kung Fu Panda" and the return of Steven Spielberg and Lucasfilm's adventurer Indiana Jones.
"Indiana Jones and the Kingdom of the Crystal Skull," the fourth film in the series, has grossed more than $350 million from international markets, with Japan set to launch Saturday.
In 2007, PPI grossed $1.6 billion for the year.
PPI president Andrew Cripps attributed the benchmark to the "continued growth of the international marketplace, the fantastic films that we have for international distribution and the first-class team we have working for PPI around the world."...
- 6/16/2008
- The Hollywood Reporter - Movie News
Indy's back ... in spades.
Indiana Jones and the Kingdom of the Crystal Skull, the latest installment of the franchise that started in 1981, was heartily embraced by a new generation of overseas moviegoers as the costly summer tentpole pulled in a huge $146.5 million from 8,347 locations in 58 territories during a weekend that began Wednesday.
The reunion of Steven Spielberg, George Lucas and Harrison Ford captured "60% -70% of most of the big markets," Paramount Pictures International president Andrew Cripps said. "Business from the early performances picked up 50% between Friday and Saturday, indicating strong family playing time."
Cripps added that the results were "very encouraging" and presaged strong holdovers as big new action films are avoiding the market with the start of the European Cup soccer madness June 7-29. India and Pakistan open Skull this weekend, and Japan is set for June 31.
The weekend tallies for Skull saw the U.K. bring in $24 million from 500 sites; France, $19.9 million from 900; Germany, $12.4 million from 858; Spain, $10.5 million from 731; Australia, $9.4 million from 535; Mexico, $4.2 million from 406; Portugal, $1.7 million from 77; and Austria, $1.8 million from 94.
The opening of the fourth Indiana Jones as the final blockbuster of a May push might provide an early sign that this summer's tentpole crop will not come close to last year's all-time records in the international market.
Indiana Jones and the Kingdom of the Crystal Skull, the latest installment of the franchise that started in 1981, was heartily embraced by a new generation of overseas moviegoers as the costly summer tentpole pulled in a huge $146.5 million from 8,347 locations in 58 territories during a weekend that began Wednesday.
The reunion of Steven Spielberg, George Lucas and Harrison Ford captured "60% -70% of most of the big markets," Paramount Pictures International president Andrew Cripps said. "Business from the early performances picked up 50% between Friday and Saturday, indicating strong family playing time."
Cripps added that the results were "very encouraging" and presaged strong holdovers as big new action films are avoiding the market with the start of the European Cup soccer madness June 7-29. India and Pakistan open Skull this weekend, and Japan is set for June 31.
The weekend tallies for Skull saw the U.K. bring in $24 million from 500 sites; France, $19.9 million from 900; Germany, $12.4 million from 858; Spain, $10.5 million from 731; Australia, $9.4 million from 535; Mexico, $4.2 million from 406; Portugal, $1.7 million from 77; and Austria, $1.8 million from 94.
The opening of the fourth Indiana Jones as the final blockbuster of a May push might provide an early sign that this summer's tentpole crop will not come close to last year's all-time records in the international market.
- 5/26/2008
- The Hollywood Reporter - Movie News
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Complete ShoWest coverage
3-D driving Euro d-cinema shift
LAS VEGAS -- It didn't take long to plop 3-D cinema front row center at ShoWest 2008, as a panel of international execs exuded broad enthusiasm for the technology Monday.
A morning seminar on the worldwide marketplace, moderated by The Hollywood Reporter vp and publisher Eric Mika, covered a spectrum of issues. But panelists placed a major emphasis on the extra-dimensional exhibition format.
"The big growth product we have as an industry going forward is 3-D," Paramount Pictures International president Andrew Cripps said.
Noting that the "premium experience" of 3-D will allow exhibitors to charge more for movie admissions, Cripps tried to rally enthusiasm among the foreign exhibitors in attendance at the seminar, one of several international day offerings at ShoWest.
"I would ask everybody to get on board," he urged. "If we're going to make 3-D work internationally, we need to have the screens."
Of course, to install 3-D equipment, theaters first must be outfitted for digital projection.
"Our focus right now is trying to digitize our circuit," said Tim Richards, CEO of Vue Entertainment, which operates multiplexes in the U.K., Portugal and Taiwan. "(But) the opportunities that 3-D and digital are going to bring are going to grow the market."
Vue is committed to top-quality digital installations, despite costs upward of $80,000 per digital projector and the acknowledged inability to charge higher admissions for films shown in 2-D digital, Richards said.
Complete ShoWest coverage
3-D driving Euro d-cinema shift
LAS VEGAS -- It didn't take long to plop 3-D cinema front row center at ShoWest 2008, as a panel of international execs exuded broad enthusiasm for the technology Monday.
A morning seminar on the worldwide marketplace, moderated by The Hollywood Reporter vp and publisher Eric Mika, covered a spectrum of issues. But panelists placed a major emphasis on the extra-dimensional exhibition format.
"The big growth product we have as an industry going forward is 3-D," Paramount Pictures International president Andrew Cripps said.
Noting that the "premium experience" of 3-D will allow exhibitors to charge more for movie admissions, Cripps tried to rally enthusiasm among the foreign exhibitors in attendance at the seminar, one of several international day offerings at ShoWest.
"I would ask everybody to get on board," he urged. "If we're going to make 3-D work internationally, we need to have the screens."
Of course, to install 3-D equipment, theaters first must be outfitted for digital projection.
"Our focus right now is trying to digitize our circuit," said Tim Richards, CEO of Vue Entertainment, which operates multiplexes in the U.K., Portugal and Taiwan. "(But) the opportunities that 3-D and digital are going to bring are going to grow the market."
Vue is committed to top-quality digital installations, despite costs upward of $80,000 per digital projector and the acknowledged inability to charge higher admissions for films shown in 2-D digital, Richards said.
- 3/11/2008
- The Hollywood Reporter - Movie News
TOKYO -- Paramount Pictures marked the opening of its Japan distribution office Thursday with the ceremonial cracking open of barrels of sake at a hotel in the Ebisu district of Tokyo.
The Japanese office of the movie giant opened Jan. 1, according to Andrew Cripps, head of Paramount Pictures International, the latest move in the company's ambitious expansion plans.
"For Paramount today, this is important for two reasons," Cripps told key members of Japan's movie industry. "This is the first new office as we expand our distribution footprint around the world and it is wonderful to see that come to fruition here today. Secondly, this is important for Paramount because Japan represents one of the biggest -- if not the biggest -- market into which we can participate and we can now be confident of our marketing as we go forward."
Based in London and only established 13 months ago, Paramount's new international arm will open offices in Spain and Germany later this year and has released 38 films internationally since its debut, Cripps said, led by "Shrek the Third" and "Transformers".
The company has high hopes for the coming year, he added, with the imminent release in Japan of "Cloverfield" and "No Country for Old Men". Even more is expected of the new Indiana Jones movie when it is released in Japan on June 21.
The Japanese office of the movie giant opened Jan. 1, according to Andrew Cripps, head of Paramount Pictures International, the latest move in the company's ambitious expansion plans.
"For Paramount today, this is important for two reasons," Cripps told key members of Japan's movie industry. "This is the first new office as we expand our distribution footprint around the world and it is wonderful to see that come to fruition here today. Secondly, this is important for Paramount because Japan represents one of the biggest -- if not the biggest -- market into which we can participate and we can now be confident of our marketing as we go forward."
Based in London and only established 13 months ago, Paramount's new international arm will open offices in Spain and Germany later this year and has released 38 films internationally since its debut, Cripps said, led by "Shrek the Third" and "Transformers".
The company has high hopes for the coming year, he added, with the imminent release in Japan of "Cloverfield" and "No Country for Old Men". Even more is expected of the new Indiana Jones movie when it is released in Japan on June 21.
One crazy summer and a weak U.S. dollar paved the way for a record year at the overseas boxoffice in 2007.
Overseas boxoffice earnings could end up at about $9.43 billion, about 10% better than 2006's record of $8.55 billion, according to an unofficial year-end estimate.
At the same time, the U.S. industry brought home about 8% more in cash because of a favorable currency exchange, according to a study of rates in key markets.
"The weakness of the dollar helped especially in the U.K. and Europe to elevate the dollar grosses," Paramount Pictures International president Andrew Cripps says. Some distributors, however, contend that increased promotion and distribution costs often dissipated the full value of the extra dollars returning to the U.S.
Warner Bros. Pictures International set an all-time record for both the studio and the industry of $2.24 billion, topping 2004's previous high of $2.19 billion. 20th Century Fox International and Walt Disney Studios Motion Pictures International were practically in a dead heat for second place, with Fox edging ahead by the razor-thin margin of $1.69 billion compared with $1.688 billion. Paramount Pictures International came in fourth with $1.59 billion, while Sony Pictures Releasing International closed the year at $1.28 billion and Universal Pictures International at a little above $1 billion.
That summer to remember saw a rare combination of powerful franchise sequels -- spread almost equally among all major studios -- conquer the global market as never before.
Starting in early May with Spider-Man 3, which went on to tally $555.4 million in the international market, the magic force of the tentpole sequel never let up. Pirates of the Caribbean: At World's End followed with $653 million; Harry Potter and the Order of the Phoenix, $645 million; Shrek the Third, $475 million; Transformers, $387.2 million, Die Hard 4.0, $262.4 million, and Fantastic Four: Rise of the Silver Surfer, $152.3 million. On and on it went almost every weekend from May-September as nonsequels chimed in -- Ratatouille, $410.8 million and The Simpsons Movie, $342.6 million. In addition, at least 13 other films hurdled the $100 million benchmark during 2007.
"Five powerful sequels -- all in one summer -- started it all," Sony Pictures Releasing International distribution president Mark Zucker says. "The big pictures are bigger than ever from a franchise perspective."
DISTRIBUTING THE WEALTH: How U.S. distributors fared in the global market during 2007Distributor200720062005Warner Bros. Pictures Intl.$2,240.0$1,300.0$1,890.020th Century Fox1,690.82,000.01,600.0Walt Disney Studios Motion Pictures1,688.31,803.01,325.6Paramount Pictures1,590.0*537.0**529.0**Sony Pictures Intl. Releasing1,277.21,631.0826.0Universal Pictures1,034.2*940.0**783.4**New Line480.9180.0336.8Summit261.8250.0332.0Mandate Intl. (Lionsgate)226.8148.0100.6Boxoffice in $ million.
* First time as stand-alone company after break-up of Paramount/Universal partnership in UIP.
** Boxoffice total as part of UIP
By the end of July, five MPA companies had each topped $1 billion in overseas boxoffice revenue; a sixth signed in as the year came to an end. Never before have all six MPA companies topped $1 billion each in returns from foreign theaters.
Led by "Harry Potter and the Order of the Phoenix's" $645 million, Warners' other key international grossers included "300" ($246 million), Ocean's Thirteen ($194.6 million), Blood Diamond ($114 million) and Beowulf ($107 million). I Am Legend brought in $116 million as 2007 came to a close.
Overseas boxoffice earnings could end up at about $9.43 billion, about 10% better than 2006's record of $8.55 billion, according to an unofficial year-end estimate.
At the same time, the U.S. industry brought home about 8% more in cash because of a favorable currency exchange, according to a study of rates in key markets.
"The weakness of the dollar helped especially in the U.K. and Europe to elevate the dollar grosses," Paramount Pictures International president Andrew Cripps says. Some distributors, however, contend that increased promotion and distribution costs often dissipated the full value of the extra dollars returning to the U.S.
Warner Bros. Pictures International set an all-time record for both the studio and the industry of $2.24 billion, topping 2004's previous high of $2.19 billion. 20th Century Fox International and Walt Disney Studios Motion Pictures International were practically in a dead heat for second place, with Fox edging ahead by the razor-thin margin of $1.69 billion compared with $1.688 billion. Paramount Pictures International came in fourth with $1.59 billion, while Sony Pictures Releasing International closed the year at $1.28 billion and Universal Pictures International at a little above $1 billion.
That summer to remember saw a rare combination of powerful franchise sequels -- spread almost equally among all major studios -- conquer the global market as never before.
Starting in early May with Spider-Man 3, which went on to tally $555.4 million in the international market, the magic force of the tentpole sequel never let up. Pirates of the Caribbean: At World's End followed with $653 million; Harry Potter and the Order of the Phoenix, $645 million; Shrek the Third, $475 million; Transformers, $387.2 million, Die Hard 4.0, $262.4 million, and Fantastic Four: Rise of the Silver Surfer, $152.3 million. On and on it went almost every weekend from May-September as nonsequels chimed in -- Ratatouille, $410.8 million and The Simpsons Movie, $342.6 million. In addition, at least 13 other films hurdled the $100 million benchmark during 2007.
"Five powerful sequels -- all in one summer -- started it all," Sony Pictures Releasing International distribution president Mark Zucker says. "The big pictures are bigger than ever from a franchise perspective."
DISTRIBUTING THE WEALTH: How U.S. distributors fared in the global market during 2007Distributor200720062005Warner Bros. Pictures Intl.$2,240.0$1,300.0$1,890.020th Century Fox1,690.82,000.01,600.0Walt Disney Studios Motion Pictures1,688.31,803.01,325.6Paramount Pictures1,590.0*537.0**529.0**Sony Pictures Intl. Releasing1,277.21,631.0826.0Universal Pictures1,034.2*940.0**783.4**New Line480.9180.0336.8Summit261.8250.0332.0Mandate Intl. (Lionsgate)226.8148.0100.6Boxoffice in $ million.
* First time as stand-alone company after break-up of Paramount/Universal partnership in UIP.
** Boxoffice total as part of UIP
By the end of July, five MPA companies had each topped $1 billion in overseas boxoffice revenue; a sixth signed in as the year came to an end. Never before have all six MPA companies topped $1 billion each in returns from foreign theaters.
Led by "Harry Potter and the Order of the Phoenix's" $645 million, Warners' other key international grossers included "300" ($246 million), Ocean's Thirteen ($194.6 million), Blood Diamond ($114 million) and Beowulf ($107 million). I Am Legend brought in $116 million as 2007 came to a close.
LONDON -- Paramount Pictures International on Thursday sealed a nonexclusive long-term deal with physical digital-service provider Arts Alliance Media to forge a pact to supply movies in digital format, joining a growing band of studio distribution arms committing to a digital print future.
PPI allies with 20th Century Fox and Universal Pictures International in pledging its commitment to the digital-theater cause.
In June, Fox and Universal signed up to back digital rollout across Europe for close to 7,000 screens in the coming years.
Under the pact, PPI has committed to supply its films in digital format to AAM-deployed, DCI-compliant digital-cinema screens in the U.K. and Ireland, Germany, Austria, Switzerland, France, Spain, Portugal, Italy, the Nordic region and Benelux.
PPI president Andrew Cripps said the deal to roll out DCI-compliant digital-projection systems is a "real step-change in the international arena."
He added, "(It) will only accelerate as 3-D product becomes more commonplace, and Paramount is proud to be at the forefront of this."
AAM CEO Howard Kiedaisch said, "Gaining the support of PPI enables AAM to take our exhibitor discussions to the next level and kick off widespread digital-cinema rollout across Europe."
AAM said it is "in active negotiations with other studios for further digital deployment deals."
Fiona Deans, AAM director of digital cinema, said that adding PPI is a boost.
PPI allies with 20th Century Fox and Universal Pictures International in pledging its commitment to the digital-theater cause.
In June, Fox and Universal signed up to back digital rollout across Europe for close to 7,000 screens in the coming years.
Under the pact, PPI has committed to supply its films in digital format to AAM-deployed, DCI-compliant digital-cinema screens in the U.K. and Ireland, Germany, Austria, Switzerland, France, Spain, Portugal, Italy, the Nordic region and Benelux.
PPI president Andrew Cripps said the deal to roll out DCI-compliant digital-projection systems is a "real step-change in the international arena."
He added, "(It) will only accelerate as 3-D product becomes more commonplace, and Paramount is proud to be at the forefront of this."
AAM CEO Howard Kiedaisch said, "Gaining the support of PPI enables AAM to take our exhibitor discussions to the next level and kick off widespread digital-cinema rollout across Europe."
AAM said it is "in active negotiations with other studios for further digital deployment deals."
Fiona Deans, AAM director of digital cinema, said that adding PPI is a boost.
- 10/12/2007
- The Hollywood Reporter - Movie News
LONDON -- Paramount Pictures International, the studio's overseas releasing arm, has hired former Buena Vista International executive Ichiro Okazaki to run its outpost in Japan and has promoted Pierre Auger from within to look after its Spanish operations.
PPI president Andrew Cripps said the appointments will help the fledgling operation grow in key territories. The two-part move signals another step in the phasing out of Paramount and Universal's jointly owned United International Pictures.
Okazaki, who takes over as Paramount Pictures Japan president Sept. 1, most recently was BVI's vp sales. Cripps said Okazaki brings "over 15 years experience in the Japanese motion picture industry" to Paramount's new-look Japanese division.
PPI Japan replaces UIP Japan. The company will combine Paramount's theatrical activities in the country with its existing home entertainment arm, Paramount Home Entertainment Japan.
When Paramount and Universal decided to reorganize UIP last year and assume sole ownership and operation of their distribution operations in certain countries, Japan was one of the countries where the restructured UIP was to have continued to distribute the films of both companies.
PPI president Andrew Cripps said the appointments will help the fledgling operation grow in key territories. The two-part move signals another step in the phasing out of Paramount and Universal's jointly owned United International Pictures.
Okazaki, who takes over as Paramount Pictures Japan president Sept. 1, most recently was BVI's vp sales. Cripps said Okazaki brings "over 15 years experience in the Japanese motion picture industry" to Paramount's new-look Japanese division.
PPI Japan replaces UIP Japan. The company will combine Paramount's theatrical activities in the country with its existing home entertainment arm, Paramount Home Entertainment Japan.
When Paramount and Universal decided to reorganize UIP last year and assume sole ownership and operation of their distribution operations in certain countries, Japan was one of the countries where the restructured UIP was to have continued to distribute the films of both companies.
Despite the trio of fresh summer tentpoles nipping at its heels, Shrek the Third dominated the international circuit for the weekend, grossing an estimated $69.6 million from 6,489 screens in 52 markets to push its overseas total to $259 million.
The DreamWorks Animation/Paramount Pictures International release, which began a graduated international rollout May 17, hit full stride by recording its biggest weekend yet, grossing $4.2 million more than its two closest competitors combined. It is the No. 1 overseas attraction for the third consecutive weekend.
Shrek bowed in seven markets, including the key international territories of the U.K. -- where it finished No. 1 in the market with an estimated $31 million (including $12.7 million generated by previews) from 537 screens -- and Japan, where it tallied $2.8 million from 542 spots. The results are 5% ahead of the comparable figures for Shrek 2 in the U.K. and 42% ahead in Japan. Shrek 2 grossed $478 million overseas.
Finished second overall for the weekend was Transformers, also from Paramount, which grossed an estimated $34.7 million from just 2,261 screens in 10 markets, mostly in Asia.
Directed by Michael Bay, the saga of robotic clans at war -- opening a week before its domestic release -- scored huge opening tallies in Korea ($12.4 million from 549 sites), Australia ($6.7 million from 240 spots), Italy ($3.6 million from 541 screens) and Taiwan ($3 million from 65 screens for a rousing $46,154 per-screen average).
"While 'Transformers' is lower on the opening four days than 'Pirates of the Caribbean: At World's End' and 'Spider-Man 3,' they are sequels, (whereas) we have an original film," PPI president Andrew Cripps said.
The DreamWorks Animation/Paramount Pictures International release, which began a graduated international rollout May 17, hit full stride by recording its biggest weekend yet, grossing $4.2 million more than its two closest competitors combined. It is the No. 1 overseas attraction for the third consecutive weekend.
Shrek bowed in seven markets, including the key international territories of the U.K. -- where it finished No. 1 in the market with an estimated $31 million (including $12.7 million generated by previews) from 537 screens -- and Japan, where it tallied $2.8 million from 542 spots. The results are 5% ahead of the comparable figures for Shrek 2 in the U.K. and 42% ahead in Japan. Shrek 2 grossed $478 million overseas.
Finished second overall for the weekend was Transformers, also from Paramount, which grossed an estimated $34.7 million from just 2,261 screens in 10 markets, mostly in Asia.
Directed by Michael Bay, the saga of robotic clans at war -- opening a week before its domestic release -- scored huge opening tallies in Korea ($12.4 million from 549 sites), Australia ($6.7 million from 240 spots), Italy ($3.6 million from 541 screens) and Taiwan ($3 million from 65 screens for a rousing $46,154 per-screen average).
"While 'Transformers' is lower on the opening four days than 'Pirates of the Caribbean: At World's End' and 'Spider-Man 3,' they are sequels, (whereas) we have an original film," PPI president Andrew Cripps said.
LONDON -- Paramount Pictures International, the overseas film releasing arm for Paramount Pictures, said Wednesday that it will launch its own distribution operation in Japan beginning in 2008, taking another step in the phasing out of Paramount and Universal's jointly owned United International Pictures.
PPI Japan will replace UIP Japan. The company will combine Paramount's theatrical activities in Japan with its existing home entertainment arm, Paramount Home Entertainment Japan, PPI said in a statement.
"This is a truly important development for Paramount," PPI president Andrew Cripps said. "The Japanese market is challenging and exciting with real potential for growth, and this move represents Paramount's next step in our international program of expansion."
Paramount's takeover of UIP Japan had been anticipated since May when Universal entered into an agreement with Japanese film distributor Toho-Towa to distribute Universal's films in the Japanese market starting in the summer, a move that allowed Universal to exit UIP Japan.
Earlier, Universal took over the UIP office in South Korea and renamed it Universal Pictures International Korea.
PPI Japan will replace UIP Japan. The company will combine Paramount's theatrical activities in Japan with its existing home entertainment arm, Paramount Home Entertainment Japan, PPI said in a statement.
"This is a truly important development for Paramount," PPI president Andrew Cripps said. "The Japanese market is challenging and exciting with real potential for growth, and this move represents Paramount's next step in our international program of expansion."
Paramount's takeover of UIP Japan had been anticipated since May when Universal entered into an agreement with Japanese film distributor Toho-Towa to distribute Universal's films in the Japanese market starting in the summer, a move that allowed Universal to exit UIP Japan.
Earlier, Universal took over the UIP office in South Korea and renamed it Universal Pictures International Korea.
- 6/21/2007
- The Hollywood Reporter - Movie News
What's so special about May?
Of course, it's the grande dame of film festivals, the Festival de Cannes, which has been held in May for the past 60 years. But Thomas Mallory's hoary observation about the "lusty month of May" also applies to the global boxoffice, with summer tentpoles now staking out their day-and-date claims to the month with unprecedented gusto.
Internationally, the May syndrome received a major lift early this month when Sony Pictures' Spider-Man 3 set all-time international opening records of $176.6 million for a conventional weekend opening and $231 million for a six-day blast.
DreamWorks Animation/Paramount's animated sequel Shrek the Third got off the ground in four international markets this past weekend. Then, on Wednesday, Disney/BVI's third film in the Pirates franchise, "Pirates of the Caribbean: At World's End," lifts off in France and explodes around the globe by the end of next week.
Even before Spidey 3 ratified that May is a hot month for tentpoles as well as maypoles, the major studios penciled in or locked in no less than six potential blockbusters for May 2008. Dibs on overseas dates, tentative or firmed, have been taken by Paramount for Iron Man, May 2; 20th Century Fox, The Day the Earth Stood Still, May 9; Warner Bros. Pictures, Speed Racer, also May 9; Disney/BVI, The Chronicles of Narnia: Prince Caspian, May 16; Paramount, the fourth film in the Indiana Jones franchise, May 22; and Fox, Starship Dave, May 30.
And May hopes have extended to 2009, as well. Two studios have eyes on May 22, 2009, with Fox pitching James Cameron's Avatar and Paramount with Monsters vs. Aliens.
Many believe the flowers-after-showers month first came into global prominence with Universal's initial The Mummy in May 1999. It was a time when the overseas market was just starting to take hold as a viable summer outlet as new air-conditioned multiplexes began to proliferate.
"It is the start of the U.S. summer," Paramount Pictures International president Andrew Cripps said. "And as such, day-and-date tentpoles need to go into that period to maximize worldwide boxoffice and to certainly get out in key markets before piracy eats away at revenue potential and to tie into certain holiday times."
David Kornblum, vp international sales and distribution at Buena Vista International, is of the school that believes that giant hit movies put global audiences in the mood for more of the same.
Of course, it's the grande dame of film festivals, the Festival de Cannes, which has been held in May for the past 60 years. But Thomas Mallory's hoary observation about the "lusty month of May" also applies to the global boxoffice, with summer tentpoles now staking out their day-and-date claims to the month with unprecedented gusto.
Internationally, the May syndrome received a major lift early this month when Sony Pictures' Spider-Man 3 set all-time international opening records of $176.6 million for a conventional weekend opening and $231 million for a six-day blast.
DreamWorks Animation/Paramount's animated sequel Shrek the Third got off the ground in four international markets this past weekend. Then, on Wednesday, Disney/BVI's third film in the Pirates franchise, "Pirates of the Caribbean: At World's End," lifts off in France and explodes around the globe by the end of next week.
Even before Spidey 3 ratified that May is a hot month for tentpoles as well as maypoles, the major studios penciled in or locked in no less than six potential blockbusters for May 2008. Dibs on overseas dates, tentative or firmed, have been taken by Paramount for Iron Man, May 2; 20th Century Fox, The Day the Earth Stood Still, May 9; Warner Bros. Pictures, Speed Racer, also May 9; Disney/BVI, The Chronicles of Narnia: Prince Caspian, May 16; Paramount, the fourth film in the Indiana Jones franchise, May 22; and Fox, Starship Dave, May 30.
And May hopes have extended to 2009, as well. Two studios have eyes on May 22, 2009, with Fox pitching James Cameron's Avatar and Paramount with Monsters vs. Aliens.
Many believe the flowers-after-showers month first came into global prominence with Universal's initial The Mummy in May 1999. It was a time when the overseas market was just starting to take hold as a viable summer outlet as new air-conditioned multiplexes began to proliferate.
"It is the start of the U.S. summer," Paramount Pictures International president Andrew Cripps said. "And as such, day-and-date tentpoles need to go into that period to maximize worldwide boxoffice and to certainly get out in key markets before piracy eats away at revenue potential and to tie into certain holiday times."
David Kornblum, vp international sales and distribution at Buena Vista International, is of the school that believes that giant hit movies put global audiences in the mood for more of the same.
- 5/22/2007
- The Hollywood Reporter - Movie News
What's so special about May?
Of course, it's the grande dame of film festivals, the Festival de Cannes, which has been held in May for the past 60 years. But Thomas Mallory's hoary observation about the "lusty month of May" also applies to the global boxoffice, with summer tentpoles now staking out their day-and-date claims to the month with unprecedented gusto.
Internationally, the May syndrome received a major lift early this month when Sony Pictures' "Spider-Man 3" set all-time international opening records of $176.6 million for a conventional weekend opening and $231 million for a six-day blast.
DreamWorks Animation/Paramount's animated sequel "Shrek the Third" gets off the ground in four international markets this weekend. Then, on WednesdayMay 23 cq, Disney/BVI's third film in the "Pirates" franchise -- "Pirates of the Caribbean: At World's End" -- lifts off in France and explodes around the globe by the end next week.
Even before "Spidey 3" ratified that May is a hot month for tentpoles as well as maypoles, the major studios penciled in or locked in no less than six potential blockbusters for May 2008. Dibs on overseas dates, tentative or firmed, have been taken by Paramount for "Iron Man", May 2; 20th Century Fox, "The Day the Earth Stood Still", May 9; Warner Bros. Pictures, "Speed Racer", also May 9; Disney/BVI, "The Chronicles of Narnia: Prince Caspian," May 16; Paramount, the fourth film in the "Indiana Jones" franchise, May 22; and Fox, "Starship Dave", May 30.
And May hopes have extended to 2009. Two studios have eyes on May 22, 2009, with Fox pitching James Cameron's "Avatar" and Paramount with "Monsters vs. Aliens".
Many believe the flowers-after-showers month first came into global prominence with Universal's initial "The Mummy" in May 1999. It was a time when the overseas market was just starting to take hold as a viable summer outlet as new air-conditioned multiplexes began to proliferate.
"It is the start of the U.S. summer," Paramount Pictures International president Andrew Cripps said. "And as such, day-and-date tentpoles need to go into that period to maximize worldwide boxoffice and to certainly get out in key markets before piracy eats away at revenue potential, and to tie into certain holiday times."
David Kornblum, vp international sales and distribution at Buena Vista International, is of the school that believes that giant hit movies put global audiences in the mood for more of the same.
Of course, it's the grande dame of film festivals, the Festival de Cannes, which has been held in May for the past 60 years. But Thomas Mallory's hoary observation about the "lusty month of May" also applies to the global boxoffice, with summer tentpoles now staking out their day-and-date claims to the month with unprecedented gusto.
Internationally, the May syndrome received a major lift early this month when Sony Pictures' "Spider-Man 3" set all-time international opening records of $176.6 million for a conventional weekend opening and $231 million for a six-day blast.
DreamWorks Animation/Paramount's animated sequel "Shrek the Third" gets off the ground in four international markets this weekend. Then, on WednesdayMay 23 cq, Disney/BVI's third film in the "Pirates" franchise -- "Pirates of the Caribbean: At World's End" -- lifts off in France and explodes around the globe by the end next week.
Even before "Spidey 3" ratified that May is a hot month for tentpoles as well as maypoles, the major studios penciled in or locked in no less than six potential blockbusters for May 2008. Dibs on overseas dates, tentative or firmed, have been taken by Paramount for "Iron Man", May 2; 20th Century Fox, "The Day the Earth Stood Still", May 9; Warner Bros. Pictures, "Speed Racer", also May 9; Disney/BVI, "The Chronicles of Narnia: Prince Caspian," May 16; Paramount, the fourth film in the "Indiana Jones" franchise, May 22; and Fox, "Starship Dave", May 30.
And May hopes have extended to 2009. Two studios have eyes on May 22, 2009, with Fox pitching James Cameron's "Avatar" and Paramount with "Monsters vs. Aliens".
Many believe the flowers-after-showers month first came into global prominence with Universal's initial "The Mummy" in May 1999. It was a time when the overseas market was just starting to take hold as a viable summer outlet as new air-conditioned multiplexes began to proliferate.
"It is the start of the U.S. summer," Paramount Pictures International president Andrew Cripps said. "And as such, day-and-date tentpoles need to go into that period to maximize worldwide boxoffice and to certainly get out in key markets before piracy eats away at revenue potential, and to tie into certain holiday times."
David Kornblum, vp international sales and distribution at Buena Vista International, is of the school that believes that giant hit movies put global audiences in the mood for more of the same.
- 5/18/2007
- The Hollywood Reporter - Movie News
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