“Definition Please” director-writer Sujata Day will develop and write the next installment of the “American Pie” franchise for Universal 1440 Entertainment.
Based on Day’s original pitch, the upcoming “American Pie” film will feature a new take on the sex comedy franchise, which originally starred Jason Biggs, Seann William Scott, Alyson Hannigan and Chris Klein, among others.
Day made her directorial debut with 2020’s “Definition Please,” which won several accolades including for narrative feature film at Next Generation Indie Film Awards. She is also known for her role as CeCe in Issa Rae’s “The Misadventures of Awkward Black Girl” and had a recurring role in HBO’s “Insecure.”
Day is repped by WME, Mosaic and Myman Greenspan. Plot details of the upcoming “American Pie” film are currently under wraps.
Napa Valley Film Festival Returns With Film, Food and Wine Showcase
The Napa Valley Film Festival is returning to an...
Based on Day’s original pitch, the upcoming “American Pie” film will feature a new take on the sex comedy franchise, which originally starred Jason Biggs, Seann William Scott, Alyson Hannigan and Chris Klein, among others.
Day made her directorial debut with 2020’s “Definition Please,” which won several accolades including for narrative feature film at Next Generation Indie Film Awards. She is also known for her role as CeCe in Issa Rae’s “The Misadventures of Awkward Black Girl” and had a recurring role in HBO’s “Insecure.”
Day is repped by WME, Mosaic and Myman Greenspan. Plot details of the upcoming “American Pie” film are currently under wraps.
Napa Valley Film Festival Returns With Film, Food and Wine Showcase
The Napa Valley Film Festival is returning to an...
- 9/29/2022
- by Jazz Tangcay, Michaela Zee, Selome Hailu and EJ Panaligan
- Variety Film + TV
Executive joined from HBO in May 2022.
Topic Studios president Maria Zuckerman is departing the company after a three-year tenure in which the company delivered projects such as Pablo Larrain’s Spencer starring Oscar nominee Kristen Stewart and HBO/HBO Max surfing series 100 Foot Wave.
No reason was given for Zuckerman’s departure. She joined in May 2019 from HBO and reported to First Look Media CEO Michael Bloom.
Under her leadership, Topic Studios also enjoyed success with Nikyatu Jusu’s 2022 Sundance grand jury winner Nanny, Kevin Macdonald’s The Mauritanian with Jodie Foster, and Adam Leon’s Italian Studies starring Vanessa Kirby.
Topic Studios president Maria Zuckerman is departing the company after a three-year tenure in which the company delivered projects such as Pablo Larrain’s Spencer starring Oscar nominee Kristen Stewart and HBO/HBO Max surfing series 100 Foot Wave.
No reason was given for Zuckerman’s departure. She joined in May 2019 from HBO and reported to First Look Media CEO Michael Bloom.
Under her leadership, Topic Studios also enjoyed success with Nikyatu Jusu’s 2022 Sundance grand jury winner Nanny, Kevin Macdonald’s The Mauritanian with Jodie Foster, and Adam Leon’s Italian Studies starring Vanessa Kirby.
- 6/14/2022
- by Jeremy Kay
- ScreenDaily
New EVP Syrinthia Studer led Paramount worldwide acquisitions in earlier role.
Paramount Global is moving into local-language production and has appointed company veteran Syrinthia Studer to lead the charge.
As EVP of international productions Studer will oversee content strategy, development and production and build a slate of local-language and micro-budget films. Paramount Global heads want to boost worldwide subscriptions at Paramount+ and Paramount Global’s other direct-to-consumer platforms as big media conglomerates seek to bulk up their content war chests.
The executive served as Paramount Pictures EVP of worldwide acquisitions and most recently EVP of Nickelodeon and Awesomeness Films – Paramount...
Paramount Global is moving into local-language production and has appointed company veteran Syrinthia Studer to lead the charge.
As EVP of international productions Studer will oversee content strategy, development and production and build a slate of local-language and micro-budget films. Paramount Global heads want to boost worldwide subscriptions at Paramount+ and Paramount Global’s other direct-to-consumer platforms as big media conglomerates seek to bulk up their content war chests.
The executive served as Paramount Pictures EVP of worldwide acquisitions and most recently EVP of Nickelodeon and Awesomeness Films – Paramount...
- 6/14/2022
- by Jeremy Kay
- ScreenDaily
Company veteran led Paramount global acquisitions in earlier role.
Paramount Global veteran Syrinthia Studer has been named EVP of international productions where she will oversee content strategy, development and production and build a slate of local-language and micro-budget films.
Studer served as Paramount Pictures’ EVP of worldwide acquisitions and most recently was EVP of Nickelodeon and Awesomeness Films where she oversaw live-action feature-length content for Awesomeness and Nickelodeon’s Kids & Family Studio.
The executive’s experience and relationships will help Paramount Global amass universally appealing content to drive worldwide subscriptions at Paramount+ and Paramount Global’s other direct-to-consumer platforms as...
Paramount Global veteran Syrinthia Studer has been named EVP of international productions where she will oversee content strategy, development and production and build a slate of local-language and micro-budget films.
Studer served as Paramount Pictures’ EVP of worldwide acquisitions and most recently was EVP of Nickelodeon and Awesomeness Films where she oversaw live-action feature-length content for Awesomeness and Nickelodeon’s Kids & Family Studio.
The executive’s experience and relationships will help Paramount Global amass universally appealing content to drive worldwide subscriptions at Paramount+ and Paramount Global’s other direct-to-consumer platforms as...
- 6/14/2022
- by Jeremy Kay
- ScreenDaily
Paramount Global veteran Syrinthia Studer has joined the company’s Content Licensing division as Executive Vice President, International Productions.
Paramount’s new business unit will develop and produce a slate of films to include international local language productions as well as micro-budget films, sourced domestically or internationally, for release via limited theatrical or direct-to-consumer platforms globally. Its focus will be originals and culturally-specific, local-language remakes sourced from Paramount Pictures’ vast film library. In her new role, Studer will oversee content strategy, development and production of local language and micro-budget films, reporting to Paramount Global’s Chief Content Licensing Officer, Dan Cohen. She will manage a team of creatives in both domestic and international markets and be based in Los Angeles.
“Syrinthia has incredible creative instincts to find stories in which audiences around the globe will relate,” says Cohen. “We are thrilled to have her join our division and look forward...
Paramount’s new business unit will develop and produce a slate of films to include international local language productions as well as micro-budget films, sourced domestically or internationally, for release via limited theatrical or direct-to-consumer platforms globally. Its focus will be originals and culturally-specific, local-language remakes sourced from Paramount Pictures’ vast film library. In her new role, Studer will oversee content strategy, development and production of local language and micro-budget films, reporting to Paramount Global’s Chief Content Licensing Officer, Dan Cohen. She will manage a team of creatives in both domestic and international markets and be based in Los Angeles.
“Syrinthia has incredible creative instincts to find stories in which audiences around the globe will relate,” says Cohen. “We are thrilled to have her join our division and look forward...
- 6/14/2022
- by Matt Grobar
- Deadline Film + TV
Syrinthia Studer has joined Paramount’s global content licensing division as executive vice president of international productions.
After being promoted from serving as executive vice president of Nickelodeon and Awesomeness Films, she will now oversee content strategy, development and production of local language and micro-budget films for the studio’s new business unit. Her purview will focus on originals and culturally specific local language remakes sourced from Paramount Pictures’ film library, with projects releasing via limited theatrical or direct-to-consumer platforms globally. Studer will be based in Los Angeles and report to Dan Cohen, chief content licensing officer for Paramount Global.
“Syrinthia has incredible creative instincts to find stories in which audiences around the globe will relate,” said Cohen. “We are thrilled to have her join our division and look forward to the world-class content that she and the team develop.”
“Great stories know no boundaries,” said Studer. “I’m excited...
After being promoted from serving as executive vice president of Nickelodeon and Awesomeness Films, she will now oversee content strategy, development and production of local language and micro-budget films for the studio’s new business unit. Her purview will focus on originals and culturally specific local language remakes sourced from Paramount Pictures’ film library, with projects releasing via limited theatrical or direct-to-consumer platforms globally. Studer will be based in Los Angeles and report to Dan Cohen, chief content licensing officer for Paramount Global.
“Syrinthia has incredible creative instincts to find stories in which audiences around the globe will relate,” said Cohen. “We are thrilled to have her join our division and look forward to the world-class content that she and the team develop.”
“Great stories know no boundaries,” said Studer. “I’m excited...
- 6/14/2022
- by Selome Hailu
- Variety Film + TV
Paramount+ has set a release date for its upcoming YA film “Honor Society.”
The coming-of-age story will debut on the service toward the end of July. Starring Gaten Matarazzo and Angourie Rice, “Honor Society” explores the costs and rewards of being a tenaciously ambitious young woman in the modern world.
The film also stars Christopher Mintz-Plasse, Armani Jackson, Amy Keum and Ben Jackson Walker.
Rice plays Honor, an ambitious high school senior whose sole focus is getting into Harvard, assuming she can first score the coveted recommendation from her guidance counselor, Mr. Calvin (Mintz-Plasse).
Also Read:
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Willing to do whatever it takes, Honor concocts a Machiavellian plan to take down her top three student competitors, until things take a turn when she unexpectedly falls for her biggest competition, Michael (Matarazzo).
“We are thrilled to build on our recent success...
The coming-of-age story will debut on the service toward the end of July. Starring Gaten Matarazzo and Angourie Rice, “Honor Society” explores the costs and rewards of being a tenaciously ambitious young woman in the modern world.
The film also stars Christopher Mintz-Plasse, Armani Jackson, Amy Keum and Ben Jackson Walker.
Rice plays Honor, an ambitious high school senior whose sole focus is getting into Harvard, assuming she can first score the coveted recommendation from her guidance counselor, Mr. Calvin (Mintz-Plasse).
Also Read:
‘Top Gun: Maverick’ Cements Paramount’s White-Hot Box Office Winning Streak
Willing to do whatever it takes, Honor concocts a Machiavellian plan to take down her top three student competitors, until things take a turn when she unexpectedly falls for her biggest competition, Michael (Matarazzo).
“We are thrilled to build on our recent success...
- 6/1/2022
- by Katie Campione
- The Wrap
Paramount+ revealed their upcoming YA comedy Honor Society will debut on the service on July 29. First-look photos of the film can be found above and below.
Deadline announced Honor Society had been greenlit exclusively in January.
Produced by Awesomeness Films, the coming of age film follows Honor (Angourie Rice), an ambitious high school senior whose sole focus is getting into Harvard, assuming she can first score the coveted recommendation from her guidance counselor, Mr. Calvin (Christopher Mintz-Plasse).
Gaten Matarazzo, Armani Jackson, Amy Keum, and Ben Jackson Walker also star.
“We are thrilled to build on our recent success with compelling YA content and partner with Awesomeness Films to bring Honor Society’s bold story of ambition and empowerment to Paramount+ this summer,” said Tanya Giles, chief programming officer, Paramount Streaming.
Honor Society is directed by Oran Zegman, with screenplay by David A. Goodman. The film is produced by Michael Lewen...
Deadline announced Honor Society had been greenlit exclusively in January.
Produced by Awesomeness Films, the coming of age film follows Honor (Angourie Rice), an ambitious high school senior whose sole focus is getting into Harvard, assuming she can first score the coveted recommendation from her guidance counselor, Mr. Calvin (Christopher Mintz-Plasse).
Gaten Matarazzo, Armani Jackson, Amy Keum, and Ben Jackson Walker also star.
“We are thrilled to build on our recent success with compelling YA content and partner with Awesomeness Films to bring Honor Society’s bold story of ambition and empowerment to Paramount+ this summer,” said Tanya Giles, chief programming officer, Paramount Streaming.
Honor Society is directed by Oran Zegman, with screenplay by David A. Goodman. The film is produced by Michael Lewen...
- 6/1/2022
- by Rosy Cordero
- Deadline Film + TV
Omari Hardwick, Kelly Rowland and Rome Flynn will star opposite Marsai Martin in the new movie “Fantasy Football.”
“Fantasy Football” follows 16-year-old Callie A. Coleman (Martin; “Little”) who discovers she can control her professional football player dad, Bobby Coleman’s prowess on the field through the EA Sports Madden NFL game. Grammy winner Rowland (“American Soul”) plays Keisha Coleman, Callie’s mom, while Emmy winner Flynn is Anderson Fisher, Bobby’s rookie arch rival.
NFL Films and EA Sports have also boarded the project, signing on to provide expertise on various aspects related to the production. The Nickelodeon and Awesomeness Films project begins shooting this month in Atlanta, Ga., with the live-action movie planned to premiere on Paramount+ later this year.
Directed by NAACP Image Award winner and Emmy nominee Anton Cropper (“Black-ish”) and written by Emmy winners Dan Gurewitch and David Young, the film is based on an original screenplay by Richard T. Jones,...
“Fantasy Football” follows 16-year-old Callie A. Coleman (Martin; “Little”) who discovers she can control her professional football player dad, Bobby Coleman’s prowess on the field through the EA Sports Madden NFL game. Grammy winner Rowland (“American Soul”) plays Keisha Coleman, Callie’s mom, while Emmy winner Flynn is Anderson Fisher, Bobby’s rookie arch rival.
NFL Films and EA Sports have also boarded the project, signing on to provide expertise on various aspects related to the production. The Nickelodeon and Awesomeness Films project begins shooting this month in Atlanta, Ga., with the live-action movie planned to premiere on Paramount+ later this year.
Directed by NAACP Image Award winner and Emmy nominee Anton Cropper (“Black-ish”) and written by Emmy winners Dan Gurewitch and David Young, the film is based on an original screenplay by Richard T. Jones,...
- 4/19/2022
- by Angelique Jackson
- Variety Film + TV
Omari Hardwick (Army of the Dead), Kelly Rowland (American Soul) and Rome Flynn (How to Get Away with Murder) have signed on to star alongside Marsai Martin in Nickelodeon and Awesomeness Films’ upcoming feature Fantasy Football. The film directed by NAACP Image Award winner Anton Cropper (Black-ish) has entered production in Atlanta and will debut exclusively on Paramount+ later this year.
Fantasy Football follows 16-year-old Callie Coleman (Martin), who discovers that she can control her professional football player dad Bobby Coleman’s (Hardwick) prowess on the field through EA Sports’ Madden NFL. Rowland is playing Callie’s mother, Keisha Coleman, with Flynn portraying Bobby’s rookie archival, Anderson Fisher. Elijah Richardson, Hanani Taylor, Abigail Killmeier, Tyla Harris, Isac Ivan and Tony Gonzalez will round out the cast.
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Fantasy Football is the third film to enter production under Awesomeness and...
Fantasy Football follows 16-year-old Callie Coleman (Martin), who discovers that she can control her professional football player dad Bobby Coleman’s (Hardwick) prowess on the field through EA Sports’ Madden NFL. Rowland is playing Callie’s mother, Keisha Coleman, with Flynn portraying Bobby’s rookie archival, Anderson Fisher. Elijah Richardson, Hanani Taylor, Abigail Killmeier, Tyla Harris, Isac Ivan and Tony Gonzalez will round out the cast.
John Madden Dies: NFL Coach, Longtime Broadcaster & Video Game Namesake Was 85
Fantasy Football is the third film to enter production under Awesomeness and...
- 4/19/2022
- by Matt Grobar
- Deadline Film + TV
Exclusive: Production has begun on Honor Society, a live-action comedy from Awesomeness Films. Angourie Rice has top billing as the titular character Honor, with Gaten Matarazzo and Christopher Mintz-Plasse also leading.
The film—written by David A. Goodman— tells the story of Honor, an ambitious high school senior whose sole focus is getting into Harvard, assuming she can first score the coveted recommendation from her guidance counselor, Mr. Calvin (Mintz-Plasse). Willing to do whatever it takes, Honor concocts a Machiavellian-like plan to take down her top three student competitors, until things take a turn when she unexpectedly falls for her biggest competition, Michael (Matarazzo).
Rounding out the top three competitors are Amy Keum and Armani Jackson.
A late 2022 release on Paramount+ is planned for the project,...
The film—written by David A. Goodman— tells the story of Honor, an ambitious high school senior whose sole focus is getting into Harvard, assuming she can first score the coveted recommendation from her guidance counselor, Mr. Calvin (Mintz-Plasse). Willing to do whatever it takes, Honor concocts a Machiavellian-like plan to take down her top three student competitors, until things take a turn when she unexpectedly falls for her biggest competition, Michael (Matarazzo).
Rounding out the top three competitors are Amy Keum and Armani Jackson.
A late 2022 release on Paramount+ is planned for the project,...
- 1/18/2022
- by Rosy Cordero
- Deadline Film + TV
Pop star and social media sensation JoJo Siwa is headlining yet another big stage, this time fronting her own live-action Nickelodeon musical.
The J Team, a 90-minute feature-length film, was announced by the network Thursday. The story follows “a young girl named JoJo (Siwa) whose life is turned upside down when her beloved dance coach (Hiccups‘ Laura Soltis) decides to retire and is replaced by a sparkle-hating instructor named Poppy (Martin‘s Tisha Campbell-Martin),” according to the official description. “Wanting to stay in the running for an upcoming dance competition, JoJo and her best friends, The Rubies, must try their...
The J Team, a 90-minute feature-length film, was announced by the network Thursday. The story follows “a young girl named JoJo (Siwa) whose life is turned upside down when her beloved dance coach (Hiccups‘ Laura Soltis) decides to retire and is replaced by a sparkle-hating instructor named Poppy (Martin‘s Tisha Campbell-Martin),” according to the official description. “Wanting to stay in the running for an upcoming dance competition, JoJo and her best friends, The Rubies, must try their...
- 2/4/2021
- by Nick Caruso
- TVLine.com
After coming out the closet as a member of the LGBTQ+ community -- and sharing that she has a girlfriend last night on Jimmy Fallon -- JoJo Siwa has announced her latest project.
Nickelodeon and Awesomeness Films are about to kick off production on The J Team, a live-action musical starring the multi-talented 17-year-old. The film, which also counts Siwa as an executive producer, will shoot in Vancouver, co-starring Tisha Campbell-Martin, Laura Soltis, Julia Marley, Kerrynton Jones, and Kiara T. Romero.
The 90-minute, feature-length, live-action musical, directed by Michael Lembeck (The Santa Clause 2) follows a young girl whose dance coach decides to retire, and is replaced by a sparkle-hating teacher. Accordingly, Siwa is kicked out of the dance troupe and forced to rediscover what dance and friendship mean to her, according to a release. The J Team will also bow with an accompanying original soundtrack featuring six new songs from...
Nickelodeon and Awesomeness Films are about to kick off production on The J Team, a live-action musical starring the multi-talented 17-year-old. The film, which also counts Siwa as an executive producer, will shoot in Vancouver, co-starring Tisha Campbell-Martin, Laura Soltis, Julia Marley, Kerrynton Jones, and Kiara T. Romero.
The 90-minute, feature-length, live-action musical, directed by Michael Lembeck (The Santa Clause 2) follows a young girl whose dance coach decides to retire, and is replaced by a sparkle-hating teacher. Accordingly, Siwa is kicked out of the dance troupe and forced to rediscover what dance and friendship mean to her, according to a release. The J Team will also bow with an accompanying original soundtrack featuring six new songs from...
- 2/4/2021
- by Geoff Weiss
- Tubefilter.com
JoJo Siwa is set to star in and executive produce The J Team, a live-action musical for Nickelodeon and studio Awesomeness. Cast also includes Tisha Campbell-Martin, Laura Soltis (Hiccups), Julia Marley (Dead to Me), Kerrynton Jones (Little Fires Everywhere) and Kiara T. Romero (The Prom). Production begins this month in Vancouver, BC, Canada.
The J Team, written by Eydie Faye (Fuller House) and directed by Emmy-winner Michael Lembeck, marks the first production under Awesomeness and Nickelodeon Live-Action Film Studio head Syrinthia Studer.
Siwa first announced the project Wednesday on The Tonight Show Starring Jimmy Fallon. You can watch the video below.
The film follows a young girl named JoJo (Siwa) whose life is turned upside down when her beloved dance coach Val (Soltis) decides to retire and is replaced by a sparkle-hating instructor named Poppy (Campbell-Martin). Wanting to stay in the running for an upcoming dance competition,...
The J Team, written by Eydie Faye (Fuller House) and directed by Emmy-winner Michael Lembeck, marks the first production under Awesomeness and Nickelodeon Live-Action Film Studio head Syrinthia Studer.
Siwa first announced the project Wednesday on The Tonight Show Starring Jimmy Fallon. You can watch the video below.
The film follows a young girl named JoJo (Siwa) whose life is turned upside down when her beloved dance coach Val (Soltis) decides to retire and is replaced by a sparkle-hating instructor named Poppy (Campbell-Martin). Wanting to stay in the running for an upcoming dance competition,...
- 2/4/2021
- by Denise Petski
- Deadline Film + TV
ViacomCBS’s Kids & Family division is consolidating all of its live-action production under one team, the company announced Tuesday.
The team, led by Nick executives Shauna Phelan and Zack Olin, will oversee development, current series and studio content for both the Nickelodeon and Awesomeness brands. Syrinthia Studer will continue in her role overseeing the combined live-action film studio. All three report to ViacomCBS Kids & Family president Brian Robbins.
The move to streamline the division’s live-action operations comes as Shelley Zimmerman, executive vice president of live-action for Awesomeness, has opted stepped down from her position and exit the company after nearly six years.
Current live-action series at Nick include the “All That” revival, the “Henry Danger” spinoff “Danger Force” and Tyler Perry’s “Young Dylan,” among others. Recent live-action series from Awesomeness include “PEN15” and “Light as a Feather” at Hulu and the two-season drama “Trinkets” at Netflix.
“As our...
The team, led by Nick executives Shauna Phelan and Zack Olin, will oversee development, current series and studio content for both the Nickelodeon and Awesomeness brands. Syrinthia Studer will continue in her role overseeing the combined live-action film studio. All three report to ViacomCBS Kids & Family president Brian Robbins.
The move to streamline the division’s live-action operations comes as Shelley Zimmerman, executive vice president of live-action for Awesomeness, has opted stepped down from her position and exit the company after nearly six years.
Current live-action series at Nick include the “All That” revival, the “Henry Danger” spinoff “Danger Force” and Tyler Perry’s “Young Dylan,” among others. Recent live-action series from Awesomeness include “PEN15” and “Light as a Feather” at Hulu and the two-season drama “Trinkets” at Netflix.
“As our...
- 1/13/2021
- by Reid Nakamura
- The Wrap
In the latest round of consolidation on the Viacom side of ViacomCBS, the Kids & Family division run by President Brian Robbins is merging all live-action production under one team, spanning development, current series and studio content. The team will be led by Nickelodeon’s Shauna Phelan and Zack Olin, who will continue to lead Nick’s live-action scripted content and will now also oversee live-action for Awesomeness and third-party platforms. They take over the duties previously held by Awesomeness’ EVP, live-action studios Shelley Zimmerman, who opted to not renew her contract and left the company after five years to pursue another opportunity.
Syrinthia Studer, who joined ViacomCBS in June, will continue to oversee the combined Awesomeness and Nickelodeon’s live-action film studio. Phelan, Olin and Studer all report to Robbins.
“As our content grows in demand from both our own audiences and from third-party platforms, consolidating all scripted live-action under...
Syrinthia Studer, who joined ViacomCBS in June, will continue to oversee the combined Awesomeness and Nickelodeon’s live-action film studio. Phelan, Olin and Studer all report to Robbins.
“As our content grows in demand from both our own audiences and from third-party platforms, consolidating all scripted live-action under...
- 1/13/2021
- by Nellie Andreeva
- Deadline Film + TV
ViacomCBS is consolidating all live-action production, including development, current series and studio content, across Nickelodeon and Awesomeness under one team led by Nickelodeon’s Shauna Phelan and Zack Olin. The pair are expanding their purview beyond Nickelodeon’s live-action scripted projects to include live-action production for Awesomeness and third-party platforms.
The shift follows the departure of Awesomeness’ executive vice president of live-action studios Shelley Zimmerman, who has chosen not to renew her contract.
“Shelley and I have worked together throughout the years, and she is an incredibly talented and savvy creative executive,” said ViacomCBS kids and family president Brian Robbins, who founded AwesomenessTV in 2012. “We wish her the absolute best and are so grateful for her leadership and contributions to Awesomeness’s studio success with hits like ‘To All the Boys I’ve Loved Before,’ ‘PEN15’ and ‘Trinkets.’”
Syrinthia Studer will remain at the helm of Nickelodeon and Awesomeness’ live-action film studio.
The shift follows the departure of Awesomeness’ executive vice president of live-action studios Shelley Zimmerman, who has chosen not to renew her contract.
“Shelley and I have worked together throughout the years, and she is an incredibly talented and savvy creative executive,” said ViacomCBS kids and family president Brian Robbins, who founded AwesomenessTV in 2012. “We wish her the absolute best and are so grateful for her leadership and contributions to Awesomeness’s studio success with hits like ‘To All the Boys I’ve Loved Before,’ ‘PEN15’ and ‘Trinkets.’”
Syrinthia Studer will remain at the helm of Nickelodeon and Awesomeness’ live-action film studio.
- 1/13/2021
- by Elaine Low
- Variety Film + TV
ViacomCBS is making some more changes to its executive structure, this time in its Kids & Family group.
The division is combining all live-action production under one team to be headed by Nickelodeon executives Shauna Phelan and Zack Olin. In addition to heading Nick’s live-action scripted content, the pair will also oversee live action for ViacomCBS subsidiary Awesomeness and third-party platforms.
Syrinthia Studer will continue to head the combined Awesomeness and Nickelodeon live-action film studio for ViacomCBS. All three execs report to Kids & Family president Brian Robbins.
“As our content grows in demand from both our own audiences and from ...
The division is combining all live-action production under one team to be headed by Nickelodeon executives Shauna Phelan and Zack Olin. In addition to heading Nick’s live-action scripted content, the pair will also oversee live action for ViacomCBS subsidiary Awesomeness and third-party platforms.
Syrinthia Studer will continue to head the combined Awesomeness and Nickelodeon live-action film studio for ViacomCBS. All three execs report to Kids & Family president Brian Robbins.
“As our content grows in demand from both our own audiences and from ...
- 1/13/2021
- The Hollywood Reporter - Movie News
ViacomCBS is making some more changes to its executive structure, this time in its Kids & Family group.
The division is combining all live-action production under one team to be headed by Nickelodeon executives Shauna Phelan and Zack Olin. In addition to heading Nick’s live-action scripted content, the pair will also oversee live action for ViacomCBS subsidiary Awesomeness and third-party platforms.
Syrinthia Studer will continue to head the combined Awesomeness and Nickelodeon live-action film studio for ViacomCBS. All three execs report to Kids & Family president Brian Robbins.
“As our content grows in demand from both our own audiences and from ...
The division is combining all live-action production under one team to be headed by Nickelodeon executives Shauna Phelan and Zack Olin. In addition to heading Nick’s live-action scripted content, the pair will also oversee live action for ViacomCBS subsidiary Awesomeness and third-party platforms.
Syrinthia Studer will continue to head the combined Awesomeness and Nickelodeon live-action film studio for ViacomCBS. All three execs report to Kids & Family president Brian Robbins.
“As our content grows in demand from both our own audiences and from ...
- 1/13/2021
- The Hollywood Reporter - Film + TV
Insurance for a $60 million film has increased tenfold in the age of Covid-19. And that’s just one of many changes film industry professionals have had to face.
In the sixth iteration of Variety‘s “Rebooting the Entertainment Industry” streaming room series, sponsored by PwC and the Ad Council, Variety senior reporter Elaine Low moderated a conversation on the future outlook for growth in the industry. Panelists included Greg Boyer, a partner and U.S. media and consulting leader at PwC, Mark Gill, the president and CEO of Solstice Studios, Allison Page, the president of Magnolia Network and Syrinthia Studer, executive vice president at Nickelodeon and Awesomeness Films.
The event covered current difficulties when creating new films and television shows as well as potential changes made to the entertainment industry even after the return to normalcy.
“I think the appetite for good content hasn’t waned at all,” Page said.
In the sixth iteration of Variety‘s “Rebooting the Entertainment Industry” streaming room series, sponsored by PwC and the Ad Council, Variety senior reporter Elaine Low moderated a conversation on the future outlook for growth in the industry. Panelists included Greg Boyer, a partner and U.S. media and consulting leader at PwC, Mark Gill, the president and CEO of Solstice Studios, Allison Page, the president of Magnolia Network and Syrinthia Studer, executive vice president at Nickelodeon and Awesomeness Films.
The event covered current difficulties when creating new films and television shows as well as potential changes made to the entertainment industry even after the return to normalcy.
“I think the appetite for good content hasn’t waned at all,” Page said.
- 9/16/2020
- by Eli Countryman
- Variety Film + TV
Paramount Pictures has hired veteran executive Sejin Croninger as executive vice president of worldwide acquisitions, reporting to motion picture group president Emma Watts. She replaces Syrinthia Studer, who departed earlier this year for a Nickelodeon post.
Croninger will begin her new job on Sept. 8 and oversee the global content acquisitions group, including both theatrical and home media acquisitions on both the domestic and international sides, as well as remake rights.
She will also be responsible for developing, strengthening and nurturing relationships with key content owners in the acquisitions space, including talent agents, global sales agents, independent producers/production companies and licensed property rights holders. Lauren Fisher, vice president of worldwide acquisitions, and Rachel Kiner, manager of worldwide acquisitions, will report to Croninger.
Croninger joins Paramount from NBC Universal Pictures, where she served as senior vice president of the North American content group and played a senior leadership role in launching...
Croninger will begin her new job on Sept. 8 and oversee the global content acquisitions group, including both theatrical and home media acquisitions on both the domestic and international sides, as well as remake rights.
She will also be responsible for developing, strengthening and nurturing relationships with key content owners in the acquisitions space, including talent agents, global sales agents, independent producers/production companies and licensed property rights holders. Lauren Fisher, vice president of worldwide acquisitions, and Rachel Kiner, manager of worldwide acquisitions, will report to Croninger.
Croninger joins Paramount from NBC Universal Pictures, where she served as senior vice president of the North American content group and played a senior leadership role in launching...
- 9/1/2020
- by Dave McNary
- Variety Film + TV
In today’s TV News Roundup, NBC News Now and NBC Blk announced a virtual conversation in the wake of the social unrest across the country, and Atx Television Festival announced a supporting sponsorship with Showtime for its virtual festival.
Executive News
Nickelodeon and Awesomeness Films have named Syrinthia Studer as executive vice president. Studer’s responsibilities will include overseeing live-action feature-length content for both studios in a role that encompasses development, production, acquisitions and co-financing. Studer will report to Shelley Zimmerman, executive vice president, Live-Action Studio at Nickelodeon and Awesomeness Films. Studer was most recently serving as executive vice president of worldwide acquisitions at Paramount Pictures.
Specials
NBC News Now and NBC Blk will present a virtual discussion hosted by MSNBC correspondent Trymaine Lee to discuss race, what it means to be black in America and the ongoing protests around the country in the wake of the murders of George Floyd,...
Executive News
Nickelodeon and Awesomeness Films have named Syrinthia Studer as executive vice president. Studer’s responsibilities will include overseeing live-action feature-length content for both studios in a role that encompasses development, production, acquisitions and co-financing. Studer will report to Shelley Zimmerman, executive vice president, Live-Action Studio at Nickelodeon and Awesomeness Films. Studer was most recently serving as executive vice president of worldwide acquisitions at Paramount Pictures.
Specials
NBC News Now and NBC Blk will present a virtual discussion hosted by MSNBC correspondent Trymaine Lee to discuss race, what it means to be black in America and the ongoing protests around the country in the wake of the murders of George Floyd,...
- 6/1/2020
- by J. Kim Murphy
- Variety Film + TV
Syrinthia Studer, the industry veteran who most recently was EVP Worldwide Acquisitions at Paramount, has been hired as EVP of Nickelodeon and Awesomeness Films. In the new role, she will oversee all live-action features for the combined labels’ Kids & Family Studio, a role that will encompass development, production, acquisitions and co-financing.
Awesomeness is behind recent teen pics To All The Boys I’ve Loved Before and To All the Boys: P.S. I Still Love You, The Perfect Date and Before I Fall. Studer will help develop new original Gen Z-targeted films as well as for kids and family.
“Syrinthia’s extensive experience in film across platforms, along with her global understanding of today’s content landscape, make her an invaluable asset to Awesomeness and Nickelodeon’s expanding film business,” said Shelley Zimmerman, Evp Live-Action Studio at Awesomeness and Nickelodeon, to whom Studer will report. “We’re thrilled to have...
Awesomeness is behind recent teen pics To All The Boys I’ve Loved Before and To All the Boys: P.S. I Still Love You, The Perfect Date and Before I Fall. Studer will help develop new original Gen Z-targeted films as well as for kids and family.
“Syrinthia’s extensive experience in film across platforms, along with her global understanding of today’s content landscape, make her an invaluable asset to Awesomeness and Nickelodeon’s expanding film business,” said Shelley Zimmerman, Evp Live-Action Studio at Awesomeness and Nickelodeon, to whom Studer will report. “We’re thrilled to have...
- 6/1/2020
- by Patrick Hipes
- Deadline Film + TV
Syrinthia Studer, a former executive with Paramount Pictures, has joined Nickelodeon and Awesomeness Films as executive vice president, Shelley Zimmerman, the Evp of the live-action studio, announced Monday.
Studer will oversee live-action, feature-length content for Awesomeness and Nickelodeon’s Kids & Family Studio in a role that encompasses development, production, acquisitions and co-financing. Studer will report to Zimmerman.
“Syrinthia’s extensive experience and understanding of today’s content landscape will make her an invaluable asset to Awesomeness’s and Nickelodeon’s expanding live-action studio businesses. We’re thrilled to have her join the team and lead the charge in creating an exciting new slate of projects and partnerships that will reflect the passions, curiosities and diverse profile of our audiences,” Zimmerman said in a statement.
Also Read: Nickelodeon Orders Two New Virtually Produced Series to Air This Summer
“Awesomeness and Nickelodeon have created such impactful movies for screens worldwide that reflect...
Studer will oversee live-action, feature-length content for Awesomeness and Nickelodeon’s Kids & Family Studio in a role that encompasses development, production, acquisitions and co-financing. Studer will report to Zimmerman.
“Syrinthia’s extensive experience and understanding of today’s content landscape will make her an invaluable asset to Awesomeness’s and Nickelodeon’s expanding live-action studio businesses. We’re thrilled to have her join the team and lead the charge in creating an exciting new slate of projects and partnerships that will reflect the passions, curiosities and diverse profile of our audiences,” Zimmerman said in a statement.
Also Read: Nickelodeon Orders Two New Virtually Produced Series to Air This Summer
“Awesomeness and Nickelodeon have created such impactful movies for screens worldwide that reflect...
- 6/1/2020
- by Brian Welk
- The Wrap
Buyers reveal the films to receive an enthusiastic response.
International delegates have given a positive response to Film London’s new-look London Screenings, which took place at Picturehouse Central in London’s West End from June 24-27.
Some of the films that received a particularly enthusiastic response by distributors included François Girard’s The Song Of Names, starring Tim Roth and Clive Owen and sold by HanWay Films; Hong Khaou’s Karlovy Vary premiere Monsoon, handled by Protagonist and described by one distributor in London as “absolutely charming”, and Elfar Adalsteins’ tragicomic road movie End Of Sentence, about a newly...
International delegates have given a positive response to Film London’s new-look London Screenings, which took place at Picturehouse Central in London’s West End from June 24-27.
Some of the films that received a particularly enthusiastic response by distributors included François Girard’s The Song Of Names, starring Tim Roth and Clive Owen and sold by HanWay Films; Hong Khaou’s Karlovy Vary premiere Monsoon, handled by Protagonist and described by one distributor in London as “absolutely charming”, and Elfar Adalsteins’ tragicomic road movie End Of Sentence, about a newly...
- 7/2/2019
- by Geoffrey Macnab
- ScreenDaily
Women In Film, Los Angeles announced today that they have elected five new members to its Board of Directors. Syrinthia Studer, Andrea Nelson Meigs, Talitha Watkins, Vanessa Morrison and Tracy McGrath have joined the board of industry leaders who represent diverse aspects of the screen industries.
“The 2019 Board of Directors will bring valuable guidance to our organization’s programming and advocacy work,” said Wif Executive Director Kirsten Schaffer. “They share our commitment to the mission of enacting change to make the entertainment industry equitable for all women, in front of and behind the camera.”
Board President Amy Baer added, “With the election of these new members, the Board gains the invaluable expertise of five of our esteemed colleagues in the screen industries. Each has established herself as an influential figure in our industry, leading to an improved and expanded definition of how women are represented on-screen, off-screen, and in positions of corporate leadership.
“The 2019 Board of Directors will bring valuable guidance to our organization’s programming and advocacy work,” said Wif Executive Director Kirsten Schaffer. “They share our commitment to the mission of enacting change to make the entertainment industry equitable for all women, in front of and behind the camera.”
Board President Amy Baer added, “With the election of these new members, the Board gains the invaluable expertise of five of our esteemed colleagues in the screen industries. Each has established herself as an influential figure in our industry, leading to an improved and expanded definition of how women are represented on-screen, off-screen, and in positions of corporate leadership.
- 3/26/2019
- by Dino-Ray Ramos
- Deadline Film + TV
With the American Film Market halfway through its 39th edition at the Loews Santa Monica Beach Hotel, producers are scrambling to adjust to the world’s ever-growing demand for more and more buzzy movies. “There’s a voracious appetite for content,” said Mark Gooder, principal with Cornerstone Films. “Compelling stories are valuable enough that we can still do traditional pre-sales on titles that really hit the mark.” For Cornerstone, that has meant the recently completed “After the Wedding,” starring Julianne Moore and Michelle Williams in a remake of Susanne Bier’s 2007 movie. “It’s immediately recognizable and female-driven,” notes Gooder. As usual, star power has been in evidence with Ron Howard showing up to meet buyers for his Luciano Pavarotti documentary, pictured about with producer Nigel Sinclair; Aaron Paul presenting Blue Fox’s “The Parts You Lose” with The H Collective; Tate Taylor talked up his upcoming drama-comedy “Breaking News in Yuba County,...
- 11/4/2018
- by Dave McNary
- Variety Film + TV
”The marketplace is big enough for everyone to thrive.”
Buyers increasingly need to juggle the right content that suits theatrical and digital platforms in a fast-changing landscape, a panel heard at yesterday’s Afm Global Perspective Conference.
Paramount evp of worldwide acquisitions Syrinthia Studer highlighted her Afm 2017 pick-up Book Club, which grossed close to $70m in early summer, as an example of something that worked well theatrically, while acknowledging that Ott platforms allow filmmakers broader exposure.
“But at the end of the day with regard to the proliferation of platforms, there’s as aspect to all of this growth that...
Buyers increasingly need to juggle the right content that suits theatrical and digital platforms in a fast-changing landscape, a panel heard at yesterday’s Afm Global Perspective Conference.
Paramount evp of worldwide acquisitions Syrinthia Studer highlighted her Afm 2017 pick-up Book Club, which grossed close to $70m in early summer, as an example of something that worked well theatrically, while acknowledging that Ott platforms allow filmmakers broader exposure.
“But at the end of the day with regard to the proliferation of platforms, there’s as aspect to all of this growth that...
- 11/3/2018
- by Jeremy Kay
- ScreenDaily
Market heads also unveil more participants in expanded industry programming.
Afm top brass have announced that LocationEXPO, launched in 2017, has expanded and will run from November 3-6 and feature more than 60 Film commissions, government agencies, production facilities and services.
LocationEXPO will take place in a dedicated exhibition space within the Loews Hotel, when participants will include the Asian Film Commissions Network, Panama Film Commission, Korea Film Commissions & Industry Network, Film Fiji, and The Royal Film Commission – Jordan, among others.
Additionally, Afm unveil more speakers and participants for its expanded programming of conferences, roundtables, workshops, and spotlight events.
Joining The...
Afm top brass have announced that LocationEXPO, launched in 2017, has expanded and will run from November 3-6 and feature more than 60 Film commissions, government agencies, production facilities and services.
LocationEXPO will take place in a dedicated exhibition space within the Loews Hotel, when participants will include the Asian Film Commissions Network, Panama Film Commission, Korea Film Commissions & Industry Network, Film Fiji, and The Royal Film Commission – Jordan, among others.
Additionally, Afm unveil more speakers and participants for its expanded programming of conferences, roundtables, workshops, and spotlight events.
Joining The...
- 10/24/2018
- by Jeremy Kay
- ScreenDaily
Each year Variety’s New Leaders feature profiles the most prominent up-and-comers in the entertainment business. To determine this year’s worthies, Variety looked across disciplines, from television, digital, music and film, to law and finance, as well as content creators. They were proposed by their bosses and peers who have worked with them and seen their rise. All are age 40 or under, and Variety has measured them by the progress of their career trajectories: do they take calculated risks? How fast have they risen in their companies? Are they innovative and employ solutions to problems that are creative? As part of the salute to the qualities that keep the town humming, filmmaker/producer Travis Knight, who founded Laika Studios and is also being honored with Variety’s Creative Leadership Award. The New Leaders, Variety’s 10 Asis finishing up the anticipated “Bumblebee” for Paramount, as well as Variety‘s 10 Assistants...
- 10/17/2018
- by Variety Staff
- Variety Film + TV
While the Toronto International Film Festival doesn’t boast a market as robust as Sundance or Cannes, there are always big deals; buyers like to see how movies wow Tiff critics and crowds. Most of all, the massive lineup of 300-plus films means that there’s the possibility of identifying a film that others overlook. “Nobody knew that movie was going to be what it was,” said Focus Features’ distribution chief Lisa Bunnell, remembering a little movie by Kathryn Bigelow, “The Hurt Locker.” “The real surprise is nothing you can predict.”
Most Tiff slates are packed with Oscar contenders. Fox Searchlight has “The Favourite” and “Can You Ever Forgive Me?”; for Sony Pictures Classics it’s foreign-language titles “Capernaum,” “Sunset,” and “Never Look Away.” Annapurna has Barry Jenkins’ Tiff world premiere, “If Beale Street Could Talk,” and Jacques Audiard’s “The Sister Brothers,” while Focus brings “Boy Erased.”
However, it...
Most Tiff slates are packed with Oscar contenders. Fox Searchlight has “The Favourite” and “Can You Ever Forgive Me?”; for Sony Pictures Classics it’s foreign-language titles “Capernaum,” “Sunset,” and “Never Look Away.” Annapurna has Barry Jenkins’ Tiff world premiere, “If Beale Street Could Talk,” and Jacques Audiard’s “The Sister Brothers,” while Focus brings “Boy Erased.”
However, it...
- 9/6/2018
- by Anne Thompson
- Thompson on Hollywood
While the Toronto International Film Festival doesn’t boast a market as robust as Sundance or Cannes, there are always big deals; buyers like to see how movies wow Tiff critics and crowds. Most of all, the massive lineup of 300-plus films means that there’s the possibility of identifying a film that others overlook. “Nobody knew that movie was going to be what it was,” said Focus Features’ distribution chief Lisa Bunnell, remembering a little movie by Kathryn Bigelow, “The Hurt Locker.” “The real surprise is nothing you can predict.”
Most Tiff slates are packed with Oscar contenders. Fox Searchlight has “The Favourite” and “Can You Ever Forgive Me?”; for Sony Pictures Classics it’s foreign-language titles “Capernaum,” “Sunset,” and “Never Look Away.” Annapurna has Barry Jenkins’ Tiff world premiere, “If Beale Street Could Talk,” and Jacques Audiard’s “The Sister Brothers,” while Focus brings “Boy Erased.”
However, it...
Most Tiff slates are packed with Oscar contenders. Fox Searchlight has “The Favourite” and “Can You Ever Forgive Me?”; for Sony Pictures Classics it’s foreign-language titles “Capernaum,” “Sunset,” and “Never Look Away.” Annapurna has Barry Jenkins’ Tiff world premiere, “If Beale Street Could Talk,” and Jacques Audiard’s “The Sister Brothers,” while Focus brings “Boy Erased.”
However, it...
- 9/6/2018
- by Anne Thompson
- Indiewire
Updated, Sunday 7:33 Am: 20th Century Fox’s Deadpool 2 has slowed, but not in the worst way, and certainly not because moviegoers lost interest. While many yesterday morning predicted a weekend north of $130M for the sequel, Saturday turned out to be not so high, coming in at $40.5M instead of the $45M+ that many were seeing, and that puts the sequel’s weekend estimates at $125M, per Fox (some see it lower at $122M-$123M).
Still, at this level, Deadpool 2 is the second-highest R-Rated opening after Deadpool ($132.4M) and ahead of It ($123.4M). For Fox, the sequel is also the second-best opening ever, after Deadpool.
What Deadpool 2 doesn’t have that Deadpool had is a Sunday on a four-day holiday, a lovers’ weekend no less, and that did wonders to keep numbers high.
What Deadpool 2 does have, and the reason why Fox jumped its release from the first weekend in June to here, is the upcoming Memorial Day weekend, which is poised to be one of the better ones in years. Product over the May holiday has been severely tepid in recent years, but Disney’s Solo: A Star Wars Story, is primed to churn out $140M-$170M over four days, which would reap a holiday record, beating Pirates of the Caribbean: At World’s End ($139.8M). It would come as no surprise if Deadpool 2 within its first 11 days clocks as much, if not more, cash than its predecessor’s $241.3M running cume.
If Deadpool 2 falls below its forecast $31.2M today, then it will be the third best R-rated opening ever, and that’s not horrible, since it would be one of three to open north of $100M. And as we mentioned in our previous update, Deadpool 2 is a fantastic commercial achievement for a raunchy comedy film, especially at a time when other studios can’t figure them out.
Fox was always smartly conservative about their projections, hoping to see $130M. The industry got very excited with a $150M forecast, and that’s because this summer touts younger franchises and more promising reboots than last year’s 15-year old Pirates of the Caribbean and 39-year old Alien. There’s a lot to be excited about in Solo: A Star Wars Story, Incredibles 2, and Jurassic World: The Forbidden Kingdom. That product line-up has AMC boss Adam Aron giddy about this summer’s boom over last year’s recession.
Should the argument be made that most superhero sequels open ahead of their first installment, Deadpool 2 is different kind of movie. While Disney’s McU touches on lore, Deadpool 2 is about its irreverence and ultraviolence. Exit demos according to Fox: 61% male to 39% female, 62% over 25, with ticket-buyers comprised of 50% Caucasian, 20% Hispanic, 13% African American, 13% Asian and 4% other.
Deadpool 2 took in $11.5m at 408 Imax screens in North America, and reps the second-biggest domestic opening ever for an R-rated and Fox title, with a big per screen average of $28K+. Fox reports that Deadpool 2 played fairly balanced across the U.S. and Canada, with the west over-indexing, the Midwest and south central slightly over-indexing, and the Northeast and Southeast slightly under-indexing. Top theaters were located in Los Angeles, New York City, San Francisco, Washington D.C., Orlando, Montreal, Atlanta, Tampa Bay, and Oklahoma City. Canada repped 7.3% of the weekend with 1,079 premium screens (Plf=673 + IMAX= 406) fueling close to a quarter of the weekend’s B.O.
Paramount’s Book Club is coming in at $12.5M, which is better than its $9M-$10M tracking and ahead of other elder-skewing titles like Warner Bros.’ Going in Style ($11.9M) and Broad Green’s A Walk in the Woods ($8.2M). We were getting word on Thursday that advance ticket sales were pushing this pic’s opening into the teens, but the royal wedding’s repeated airings throughout yesterday was a bit of an obstacle. There’s a chance we could see more improved numbers today, but a good start for this Paramount title, one that the studio’s Evp of Worldwide Acquisitions Syrinthia Studer acquired U.S./UK/France rights on for an estimated $10M. Per Paramount: 80% of the audience was female, 88% of the audience was over-35, 60% over-50, and nearly 50% women over-50. The studio is looking forward to some legs on Book Club: Going in Style, whichdid a 3.78x for $45M, and A Walking in the Woods off its 3-day Labor Day weekend did 3.6x for $29.5M final stateside cume.
Global Road’s Show Dogs saw a 94% increase in Saturday and will call the weekend this morning at $6M. Talking dogs, tired family sub-genre.
Focus Features’ Wim Wenders doc Pope Francis: A Man of His Word, collected $480K at 346 sites, with a 92% audience score in the top two boxes and an 82% definite recommend from its audience. Pic will expand into more theaters in its third weekend. Warner Bros.’ re-release of 2001: A Space Odyssey is now filing a solid $50K per theater for $200K this weekend at the Arclight Hollywood, Village East NYC, Music Box Chicago and the Castro San Francisco. Again, it’s a 50th anniversary remastered ‘unrestored’ print overseen by Christopher Nolan that recently played at the Cannes Film Festival. Paul Schrader’s A24 thriller First Reformed is one of the director’s best per screen averages in years, with $25K a theater ($100K at four locations) besting Dominion: Prequel to the Exorcist ($1k PTA off a $140K opening), and Autofocus ($11K PTA off a $123K opening). BleeckerStreet’s British romance On Chesil Beach turned in a paltry $9,1K per screen for $36K. Overall weekend ticket sales according to ComScore are at $205.5M, +63% from a year ago, when Fox’s Alien: Covenant led the box office with $36.1M. Annual tickets sales for the frame of Jan. 1-May 20 are at $4.56B, +6.3%.
Studio reported estimates for the weekend of May 18-20:
thumb rank film dist. screens (chg) fri sat sun 3day (%) total wkd no. 1 Deadpool 2 Fox 4,349 $53.3M $40.5M $31.2M $125M — 1 2 Avengers: Infinity War Dis 4,002 (-472) $7.2M $13M $8.4M $28.6M (-54%) $595M 4 3 Book Club Par 2,781 $4.8M $4.76M $2.94M $12.5M — 1 4 Life of the Party Nl/WB 3,656 $2.2M $3.2M $2.2M $7.7M (-57%) $31M 2 5 Breaking In Uni 2,537 $1.9M $2.9M $1.6M $6.4M (-63%) $28.7M 2 6 Show Dogs Gr 3,212 $1.4M $2.7M $1.9M $6M — 1 7 Overboard LG 1,820 (-186) $1.1M $1.9M $1.7M $4.7M (-52%) $36.9M 3 8 A Quiet Place Paramount 2,327 (-817) $1.1M $1.7M $1.2M $4M (-37%) $176.1M 7 9 Rampage Nl/WB 1,466 $345K $680K $475K $1.5M (-57%) $92.4M 6 10 I Feel Pretty Stx 1,505 $340K $520K $340K $1.2M (-69%) $46.5M 5
Updated, Saturday Am: Chart coming We’ve written recently about the near obituary for R-rated comedy films at the box office, and how they’re not hitting their marks in a Hangover, Wedding Crashers, or even We’re the Millers mass-appealing kind of way. But if you think about it, Deadpool 2 (and, of course, its first installment), is a loud example at the B.O. which proves that R-rated comedies really do still work. It’s satirical, shameless, wonderfully obnoxious, and quite star- driven in Ryan Reynolds embodiment of the character. The franchise’s notoriety as a rebel among superhero movies makes it all the more cooler; Deadpool evolved comedies from a commercial standpoint, for the 20th Century Fox title easily made an estimated $53.3M in its first day (that’s including $18.6M Thursday night previews), giving it the highest opening day for an R-rated movie, beating New Line/Warner Bros.’ It ($50.4M). Three-day is at an estimated $132.1M, which is within nickels and dimes of overtaking Deadpool‘s record R-rated opening of $132.4M.
This is not to say that the future of comedy lies in superhero hybrids, not to mention Deadpool is its own sensibility. But increasingly, action comedies are a surer bet at the B.O. (granted that they’re at the right price) than anything situational, i.e. Central Intelligence, Spy are ones that have worked. Adam Sandler’s decampment from the cinema to Netflix is proof that he knows which way the winds are blowing in regards to the broad aspect of the genre, and the format allows him to be more creative and quirky in ways than perhaps a studio tentpole comedy would not permit in regards to ticket buyers. Superhero movies feasibly prove that they’re worth the trip to the multiplex and better than anything on a Netflix menu. But broad comedies are straining. Some distribution executives disagree and believe that only the bad comedies aren’t working. But the reality is that now, more than ever, comedies can no longer be mailed in. Each attempt has to be brazenly fresh, which is risky and easier said than done. Moviegoers may have felt they’ve already seen Melissa McCarthy’s Life of the Party in its one-sheets and set-up of a parent going back to college, and the box office results show it with a second weekend take of $7.6M, -57% in fourth with $30.9M. But the R-rated Brian Henson comedy The Happytime Murders is the type of bold, swing for the fences –literally a Meet the Feebles for the masses– which could prove to be a bright spot for comedies this summer.
Deadpool 2 received an A CinemaScore, just like the first one. Males numbered 59% to 41% females, with a predominant over 25 crowd at 71%. There was more of an under-25 presence for Deadpool at 45%, but what this means when you see a swing in demos is that the Deadpool audience just got older. Forty-three percent bought tickets because of Ryan Reynolds, which is roughly in the same vicinity as the first movie’s 47%.
Avengers: Infinity War with $28.2M, -54% in weekend 4, easily ranks second with $595.8M by Sunday.
Paramount’s acquisition Book Club is still ahead of tracking with an estimated $13.4M, which is still in the teen range of where these older skewing comedies start. Post Trak audiences gave the movie 4 out of 5 stars, with CinemaScore exit polls showing an A-. Women turned out at 80% giving the Diane Keaton-Jane Fonda-Candice Bergen comedy an A-. Over 25 numbered 97% at an A- while the 50+ sector repped 61% of the crowd, also A-. Forty percent came out for the actresses.
With close to $5.3M, Global Road’s family comedy Show Dogs is looking at 6th place. Talking dogs — we’ve seen it all before, but for those who actually went to the theater, they didn’t think it was too bad, with an A- CinemaScore. Under 18 at 47% gave the Will Arnett comedy an A, while females –typically moms– turned out at 65%, grading the movie an A-.
Highlights on the specialty side: Magnolia’s Rbg still fantastic at 375 locations with $1.2M in weekend 3, with what looks to be another second weekend 10th place notch.
Warner Bros. unrestored 70Mm re-release of Stanley Kubrick’s 2001: A Space Odyssey is looking at a theater average of close to $47K, or $187K at four venues in NY, La, Chicago and San Francisco. Christopher Nolan worked with Warner Bros. on the mastering process, and the pic played at the Cannes Film Festival six days ago.
Focus Features’ Wim Wenders doc Pope Francis: A Man of His Word, which also recently played Cannes, is projected to take in $590K at 346 locations. Eight-seven percent fresh Rotten Tomatoes score.
A24’s Paul Schrader thriller First Reformed, starring Ethan Hawke and Amanda Seyfried ,follows a Dutch Reform parish pastor who is asked by a pregnant parishoner to counsel her husband, a radical environmentalist who ultimately takes his own life. The pic has a huge 97% certified fresh on Rotten Tomatoes. Pic is bound for an estimated $100K opening at four locations, for a solid $25K theater average. Pic premiered in the fall festival trifecta of Venice, Telluride and Tiff last year.
BleeckerStreet’s On Chesil Beach starring Saoirse Ronan and based on Ian McEwan’s novel about a young English couple in the early 1960s whose idyllic courtship leads to an awkward and fateful wedding night isn’t doing so hot at four New York and Los Angeles theaters, with a $38K projected weekend, $9,5K per screen. Rotten Tomatoes are at 68% fresh which isn’t hot for a specialty release.
Here’s the industry estimates for the weekend of May 18-20:
thumb rank film dist. screens (chg) fri 3-day (-%) total wkd no. 1 Deadpool 2 Fox 4,349 $53.3M $132.1M — 1 2 Avengers: Infinity War Dis 4,002 (-472) $7.3M (-54%) $28.2M (-54%) $594.6M 4 3 Book Club Par 2,781 $4.7M $13.4M — 1 4 Life of the Party Nl/WB 3,656 (0) $2.2M (-56%) $7.6M (-57%) $30.9M 2 5 Breaking In Uni 2,537 (0) $1.9M (-58%) $6.4M (-63%) $28.7M 2 6 Show Dogs Gr 3,212 $1.4M $5.3M — 1 7 Overboard LG/MGM 1,820 (-186) $1.1M (-47%) $4.6M (-53%) $36.9M 3 8 A Quiet Place Par 2,327 (-817) $1.1M (-39%) $3.8M (-41%) $176M 7 9 Rampage Nl/WB 1,466 $342K (-58%) $1.37M (-60%) $92.3m 6 10 Rbg Mag 375 (+196) $552k (-38%) $1.2M (+2%) $3.8M 3 11 I Feel Pretty Stx 1,505 $350K (-64%) $1.18M (-69%) $46.4M 5
Updated, Friday Pm: 20th Century Fox’s Deadpool 2 is on its way to potentially unseating New Line/Warner Bros.’ It for the top opening day ever for an R-rated pic with a $50M-$52M take. Thursday night’s $18.6M reps 36% of today’s estimated first-day figure. It made $50.4M on its opening day (plus $13.5M previews) last September, while Deadpool ranked second with a $47.3M start. Though Deadpool 2 is higher in its Friday than the first chapter, right now analysts are calling its opening at $130M+. We hear it’s more or less keeping pace with the 2016 title, with both matinees and projected evenings very strong. Production cost before P&A on Deadpool 2 is a reported $110M.
At mobile movie ticket retailer Atom Tickets, Deadpool 2 now holds the record for the highest pre-sale volume of all time, displacing Avengers: Infinity War. Deadpool 2 Atom ticket buyers are 61% male, 39% female, which is more male than their average R-rated advance ticket buyers who are 57% under the age of 34; 80% who don’t have kids.
Where does Deadpool 2 leave Disney/Marvel’s Avengers: Infinity War in weekend four? Not crippled, that’s for sure with the Russo Brothers movie set to make $31M-$32M for a 48%-50% decline and a running total of $598.3M.
Paramount’s Diane Keaton-Jane Fonda-Candice Bergen older femme comedy Book Club is indeed overindexing as we anticipated eariler with $5.5M today and $15M-$16M this weekend. This is according to industry estimates, not Paramount. June Pictures and Endeavor Content financed Book Club and Paramount picked up the movie out of last fall’s Afm for a reported $10M, which included domestic, UK and France rights.
No bow-wow for the weekend’s third wide release, Global Road’s Show Dogs with $1.6M today and $5M-$6M.
Updated, Friday Am after Thursday night Exclusive: 20th Century Fox’s Deadpool 2 came in at the high end of projections last night with $18.6 million, easily making it the best preview night ever for an R-rated film. It tops New Line/Warner Bros’ It, which cashed in $13.5M. Industry forecasts last night ranged from $15M-$18M for previews that began at 7 Pm last night at 3,785 locations. With Thursday night crowds, Deadpool 2 scored a 5-out-of-5 stars with a 78% definite recommend.
Today, Deadpool 2 expands to 4,349 theaters which counts as Fox’s widest release ever after its release of DreamWorks Animation’s How to Train Your Dragon 2‘s 4,253 locations, and it’s also a record wide release for an R-rated title, besting It‘s 4,103 opening weekend theater count.
Before It, the first Deadpool owned the R-rated preview record with $12.7M before grossing $47.3M on its opening Friday, with Thursday night repping 27% of that number. That movie had the bonus of playing over the four-day Presidents Day weekend, with an extra boost from Valentine’s Day that Sunday. Fox marketed to women heavily then via Deadpool stunts on ABC’s The Bachelor, and easily drew in a couples, plus Reynolds’ femme fans.
The three-day opening for Deadpool was $132.4M, while four-day was $152.1M. Deadpool owns the all-time record at the domestic box office for both a R-rated movie and a 20th Century Fox release.
Fox is projecting $130M through Sunday for Deadpool 2, while the town is bullishly predicting more at $150M. Even on the low end, that’s one of the top seven starts for a May release behind last year’s Guardians of the Galaxy Vol. 2 ($146.5M). Working in the pic’s favor is that sweet under-25 spot, with 72% of colleges on summer break tomorrow.
To clarify for some out there: While Deadpool is based on a Marvel comic book, it’s not part of the Disney McU (not yet at least). Years ago, when Marvel was selling off film rights for its superheros, Fox scored those for X-Men, Deadpool, Cable, Gambit and The Fantastic Four, among others.
In other news, yesterday we heard that Paramount’s older-female-skewing Book Club could overindex its $9M-$10M tracking with a three-day that’s in the high teens, possibly $20M. That wasn’t off any 5 Pm preview projections last night; rather, Fandango spotted advance ticket sales for the movie pacing with My Big Fat Greek Wedding 2 ($17.8M) and far ahead of older-skewing titles Last Vegas ($16.3M) and Going in Style ($11.9M). Again, we’ll see how the advance tix translate.
In regard to Thursday night previews, Book Club posted $625,000, which is in between The Intern‘s $650K preview night and Going in Style‘s $600K. Intern posted a $6.2M Friday and $17.7M weekend while Going in Style earned a $4.3M Friday.
Given how older crowds make their way to the cinema slower, the hope with these films is the leg-out factor, and that boils down to how long a distributor can convince a multiplex to keep a title on screens. Even when these movies are making money, some exhibition bookers get thick-headed and move holdovers out for fresher fare, even if it’s B-grade and only destined to last two weeks.
Social media monitor Relish Mix reports it’s noticing fans of Diane Keaton, Jane Fonda and Candice Bergen chiming in that they’re excited to see the pic, with many women tagging each other on Facebook for a girls night out. Fonda is the social media champ for the film across Twitter, Instagram, and Facebook with 1.6M followers, followed by Alicia Silverstone, who counts 1.5M. Keaton has 700K.
The stars of Book Club left a spicy message for Reynolds on Deadpool 2‘s opening weekend.
Hey @vancityreynolds – You’re not the only one that kills in a tight little red outfit. We’ll show you ours if you show us yours.
xoxo
The Ladies of @BookClub pic.twitter.com/m0I4Nw327P
— Jane Seymour Fonda (@Janefonda) May 15, 2018
Global Road has Show Dogs this weekend, which is looking to do in the high single digits, while Disney’s almighty Avengers: Infinity War is forecast to make around $32M, for a running total by Sunday of $598M — not too far from the six-century mark. On Thursday, the Russo brothers-directed movie made $3.4M.
Still, at this level, Deadpool 2 is the second-highest R-Rated opening after Deadpool ($132.4M) and ahead of It ($123.4M). For Fox, the sequel is also the second-best opening ever, after Deadpool.
What Deadpool 2 doesn’t have that Deadpool had is a Sunday on a four-day holiday, a lovers’ weekend no less, and that did wonders to keep numbers high.
What Deadpool 2 does have, and the reason why Fox jumped its release from the first weekend in June to here, is the upcoming Memorial Day weekend, which is poised to be one of the better ones in years. Product over the May holiday has been severely tepid in recent years, but Disney’s Solo: A Star Wars Story, is primed to churn out $140M-$170M over four days, which would reap a holiday record, beating Pirates of the Caribbean: At World’s End ($139.8M). It would come as no surprise if Deadpool 2 within its first 11 days clocks as much, if not more, cash than its predecessor’s $241.3M running cume.
If Deadpool 2 falls below its forecast $31.2M today, then it will be the third best R-rated opening ever, and that’s not horrible, since it would be one of three to open north of $100M. And as we mentioned in our previous update, Deadpool 2 is a fantastic commercial achievement for a raunchy comedy film, especially at a time when other studios can’t figure them out.
Fox was always smartly conservative about their projections, hoping to see $130M. The industry got very excited with a $150M forecast, and that’s because this summer touts younger franchises and more promising reboots than last year’s 15-year old Pirates of the Caribbean and 39-year old Alien. There’s a lot to be excited about in Solo: A Star Wars Story, Incredibles 2, and Jurassic World: The Forbidden Kingdom. That product line-up has AMC boss Adam Aron giddy about this summer’s boom over last year’s recession.
Should the argument be made that most superhero sequels open ahead of their first installment, Deadpool 2 is different kind of movie. While Disney’s McU touches on lore, Deadpool 2 is about its irreverence and ultraviolence. Exit demos according to Fox: 61% male to 39% female, 62% over 25, with ticket-buyers comprised of 50% Caucasian, 20% Hispanic, 13% African American, 13% Asian and 4% other.
Deadpool 2 took in $11.5m at 408 Imax screens in North America, and reps the second-biggest domestic opening ever for an R-rated and Fox title, with a big per screen average of $28K+. Fox reports that Deadpool 2 played fairly balanced across the U.S. and Canada, with the west over-indexing, the Midwest and south central slightly over-indexing, and the Northeast and Southeast slightly under-indexing. Top theaters were located in Los Angeles, New York City, San Francisco, Washington D.C., Orlando, Montreal, Atlanta, Tampa Bay, and Oklahoma City. Canada repped 7.3% of the weekend with 1,079 premium screens (Plf=673 + IMAX= 406) fueling close to a quarter of the weekend’s B.O.
Paramount’s Book Club is coming in at $12.5M, which is better than its $9M-$10M tracking and ahead of other elder-skewing titles like Warner Bros.’ Going in Style ($11.9M) and Broad Green’s A Walk in the Woods ($8.2M). We were getting word on Thursday that advance ticket sales were pushing this pic’s opening into the teens, but the royal wedding’s repeated airings throughout yesterday was a bit of an obstacle. There’s a chance we could see more improved numbers today, but a good start for this Paramount title, one that the studio’s Evp of Worldwide Acquisitions Syrinthia Studer acquired U.S./UK/France rights on for an estimated $10M. Per Paramount: 80% of the audience was female, 88% of the audience was over-35, 60% over-50, and nearly 50% women over-50. The studio is looking forward to some legs on Book Club: Going in Style, whichdid a 3.78x for $45M, and A Walking in the Woods off its 3-day Labor Day weekend did 3.6x for $29.5M final stateside cume.
Global Road’s Show Dogs saw a 94% increase in Saturday and will call the weekend this morning at $6M. Talking dogs, tired family sub-genre.
Focus Features’ Wim Wenders doc Pope Francis: A Man of His Word, collected $480K at 346 sites, with a 92% audience score in the top two boxes and an 82% definite recommend from its audience. Pic will expand into more theaters in its third weekend. Warner Bros.’ re-release of 2001: A Space Odyssey is now filing a solid $50K per theater for $200K this weekend at the Arclight Hollywood, Village East NYC, Music Box Chicago and the Castro San Francisco. Again, it’s a 50th anniversary remastered ‘unrestored’ print overseen by Christopher Nolan that recently played at the Cannes Film Festival. Paul Schrader’s A24 thriller First Reformed is one of the director’s best per screen averages in years, with $25K a theater ($100K at four locations) besting Dominion: Prequel to the Exorcist ($1k PTA off a $140K opening), and Autofocus ($11K PTA off a $123K opening). BleeckerStreet’s British romance On Chesil Beach turned in a paltry $9,1K per screen for $36K. Overall weekend ticket sales according to ComScore are at $205.5M, +63% from a year ago, when Fox’s Alien: Covenant led the box office with $36.1M. Annual tickets sales for the frame of Jan. 1-May 20 are at $4.56B, +6.3%.
Studio reported estimates for the weekend of May 18-20:
thumb rank film dist. screens (chg) fri sat sun 3day (%) total wkd no. 1 Deadpool 2 Fox 4,349 $53.3M $40.5M $31.2M $125M — 1 2 Avengers: Infinity War Dis 4,002 (-472) $7.2M $13M $8.4M $28.6M (-54%) $595M 4 3 Book Club Par 2,781 $4.8M $4.76M $2.94M $12.5M — 1 4 Life of the Party Nl/WB 3,656 $2.2M $3.2M $2.2M $7.7M (-57%) $31M 2 5 Breaking In Uni 2,537 $1.9M $2.9M $1.6M $6.4M (-63%) $28.7M 2 6 Show Dogs Gr 3,212 $1.4M $2.7M $1.9M $6M — 1 7 Overboard LG 1,820 (-186) $1.1M $1.9M $1.7M $4.7M (-52%) $36.9M 3 8 A Quiet Place Paramount 2,327 (-817) $1.1M $1.7M $1.2M $4M (-37%) $176.1M 7 9 Rampage Nl/WB 1,466 $345K $680K $475K $1.5M (-57%) $92.4M 6 10 I Feel Pretty Stx 1,505 $340K $520K $340K $1.2M (-69%) $46.5M 5
Updated, Saturday Am: Chart coming We’ve written recently about the near obituary for R-rated comedy films at the box office, and how they’re not hitting their marks in a Hangover, Wedding Crashers, or even We’re the Millers mass-appealing kind of way. But if you think about it, Deadpool 2 (and, of course, its first installment), is a loud example at the B.O. which proves that R-rated comedies really do still work. It’s satirical, shameless, wonderfully obnoxious, and quite star- driven in Ryan Reynolds embodiment of the character. The franchise’s notoriety as a rebel among superhero movies makes it all the more cooler; Deadpool evolved comedies from a commercial standpoint, for the 20th Century Fox title easily made an estimated $53.3M in its first day (that’s including $18.6M Thursday night previews), giving it the highest opening day for an R-rated movie, beating New Line/Warner Bros.’ It ($50.4M). Three-day is at an estimated $132.1M, which is within nickels and dimes of overtaking Deadpool‘s record R-rated opening of $132.4M.
This is not to say that the future of comedy lies in superhero hybrids, not to mention Deadpool is its own sensibility. But increasingly, action comedies are a surer bet at the B.O. (granted that they’re at the right price) than anything situational, i.e. Central Intelligence, Spy are ones that have worked. Adam Sandler’s decampment from the cinema to Netflix is proof that he knows which way the winds are blowing in regards to the broad aspect of the genre, and the format allows him to be more creative and quirky in ways than perhaps a studio tentpole comedy would not permit in regards to ticket buyers. Superhero movies feasibly prove that they’re worth the trip to the multiplex and better than anything on a Netflix menu. But broad comedies are straining. Some distribution executives disagree and believe that only the bad comedies aren’t working. But the reality is that now, more than ever, comedies can no longer be mailed in. Each attempt has to be brazenly fresh, which is risky and easier said than done. Moviegoers may have felt they’ve already seen Melissa McCarthy’s Life of the Party in its one-sheets and set-up of a parent going back to college, and the box office results show it with a second weekend take of $7.6M, -57% in fourth with $30.9M. But the R-rated Brian Henson comedy The Happytime Murders is the type of bold, swing for the fences –literally a Meet the Feebles for the masses– which could prove to be a bright spot for comedies this summer.
Deadpool 2 received an A CinemaScore, just like the first one. Males numbered 59% to 41% females, with a predominant over 25 crowd at 71%. There was more of an under-25 presence for Deadpool at 45%, but what this means when you see a swing in demos is that the Deadpool audience just got older. Forty-three percent bought tickets because of Ryan Reynolds, which is roughly in the same vicinity as the first movie’s 47%.
Avengers: Infinity War with $28.2M, -54% in weekend 4, easily ranks second with $595.8M by Sunday.
Paramount’s acquisition Book Club is still ahead of tracking with an estimated $13.4M, which is still in the teen range of where these older skewing comedies start. Post Trak audiences gave the movie 4 out of 5 stars, with CinemaScore exit polls showing an A-. Women turned out at 80% giving the Diane Keaton-Jane Fonda-Candice Bergen comedy an A-. Over 25 numbered 97% at an A- while the 50+ sector repped 61% of the crowd, also A-. Forty percent came out for the actresses.
With close to $5.3M, Global Road’s family comedy Show Dogs is looking at 6th place. Talking dogs — we’ve seen it all before, but for those who actually went to the theater, they didn’t think it was too bad, with an A- CinemaScore. Under 18 at 47% gave the Will Arnett comedy an A, while females –typically moms– turned out at 65%, grading the movie an A-.
Highlights on the specialty side: Magnolia’s Rbg still fantastic at 375 locations with $1.2M in weekend 3, with what looks to be another second weekend 10th place notch.
Warner Bros. unrestored 70Mm re-release of Stanley Kubrick’s 2001: A Space Odyssey is looking at a theater average of close to $47K, or $187K at four venues in NY, La, Chicago and San Francisco. Christopher Nolan worked with Warner Bros. on the mastering process, and the pic played at the Cannes Film Festival six days ago.
Focus Features’ Wim Wenders doc Pope Francis: A Man of His Word, which also recently played Cannes, is projected to take in $590K at 346 locations. Eight-seven percent fresh Rotten Tomatoes score.
A24’s Paul Schrader thriller First Reformed, starring Ethan Hawke and Amanda Seyfried ,follows a Dutch Reform parish pastor who is asked by a pregnant parishoner to counsel her husband, a radical environmentalist who ultimately takes his own life. The pic has a huge 97% certified fresh on Rotten Tomatoes. Pic is bound for an estimated $100K opening at four locations, for a solid $25K theater average. Pic premiered in the fall festival trifecta of Venice, Telluride and Tiff last year.
BleeckerStreet’s On Chesil Beach starring Saoirse Ronan and based on Ian McEwan’s novel about a young English couple in the early 1960s whose idyllic courtship leads to an awkward and fateful wedding night isn’t doing so hot at four New York and Los Angeles theaters, with a $38K projected weekend, $9,5K per screen. Rotten Tomatoes are at 68% fresh which isn’t hot for a specialty release.
Here’s the industry estimates for the weekend of May 18-20:
thumb rank film dist. screens (chg) fri 3-day (-%) total wkd no. 1 Deadpool 2 Fox 4,349 $53.3M $132.1M — 1 2 Avengers: Infinity War Dis 4,002 (-472) $7.3M (-54%) $28.2M (-54%) $594.6M 4 3 Book Club Par 2,781 $4.7M $13.4M — 1 4 Life of the Party Nl/WB 3,656 (0) $2.2M (-56%) $7.6M (-57%) $30.9M 2 5 Breaking In Uni 2,537 (0) $1.9M (-58%) $6.4M (-63%) $28.7M 2 6 Show Dogs Gr 3,212 $1.4M $5.3M — 1 7 Overboard LG/MGM 1,820 (-186) $1.1M (-47%) $4.6M (-53%) $36.9M 3 8 A Quiet Place Par 2,327 (-817) $1.1M (-39%) $3.8M (-41%) $176M 7 9 Rampage Nl/WB 1,466 $342K (-58%) $1.37M (-60%) $92.3m 6 10 Rbg Mag 375 (+196) $552k (-38%) $1.2M (+2%) $3.8M 3 11 I Feel Pretty Stx 1,505 $350K (-64%) $1.18M (-69%) $46.4M 5
Updated, Friday Pm: 20th Century Fox’s Deadpool 2 is on its way to potentially unseating New Line/Warner Bros.’ It for the top opening day ever for an R-rated pic with a $50M-$52M take. Thursday night’s $18.6M reps 36% of today’s estimated first-day figure. It made $50.4M on its opening day (plus $13.5M previews) last September, while Deadpool ranked second with a $47.3M start. Though Deadpool 2 is higher in its Friday than the first chapter, right now analysts are calling its opening at $130M+. We hear it’s more or less keeping pace with the 2016 title, with both matinees and projected evenings very strong. Production cost before P&A on Deadpool 2 is a reported $110M.
At mobile movie ticket retailer Atom Tickets, Deadpool 2 now holds the record for the highest pre-sale volume of all time, displacing Avengers: Infinity War. Deadpool 2 Atom ticket buyers are 61% male, 39% female, which is more male than their average R-rated advance ticket buyers who are 57% under the age of 34; 80% who don’t have kids.
Where does Deadpool 2 leave Disney/Marvel’s Avengers: Infinity War in weekend four? Not crippled, that’s for sure with the Russo Brothers movie set to make $31M-$32M for a 48%-50% decline and a running total of $598.3M.
Paramount’s Diane Keaton-Jane Fonda-Candice Bergen older femme comedy Book Club is indeed overindexing as we anticipated eariler with $5.5M today and $15M-$16M this weekend. This is according to industry estimates, not Paramount. June Pictures and Endeavor Content financed Book Club and Paramount picked up the movie out of last fall’s Afm for a reported $10M, which included domestic, UK and France rights.
No bow-wow for the weekend’s third wide release, Global Road’s Show Dogs with $1.6M today and $5M-$6M.
Updated, Friday Am after Thursday night Exclusive: 20th Century Fox’s Deadpool 2 came in at the high end of projections last night with $18.6 million, easily making it the best preview night ever for an R-rated film. It tops New Line/Warner Bros’ It, which cashed in $13.5M. Industry forecasts last night ranged from $15M-$18M for previews that began at 7 Pm last night at 3,785 locations. With Thursday night crowds, Deadpool 2 scored a 5-out-of-5 stars with a 78% definite recommend.
Today, Deadpool 2 expands to 4,349 theaters which counts as Fox’s widest release ever after its release of DreamWorks Animation’s How to Train Your Dragon 2‘s 4,253 locations, and it’s also a record wide release for an R-rated title, besting It‘s 4,103 opening weekend theater count.
Before It, the first Deadpool owned the R-rated preview record with $12.7M before grossing $47.3M on its opening Friday, with Thursday night repping 27% of that number. That movie had the bonus of playing over the four-day Presidents Day weekend, with an extra boost from Valentine’s Day that Sunday. Fox marketed to women heavily then via Deadpool stunts on ABC’s The Bachelor, and easily drew in a couples, plus Reynolds’ femme fans.
The three-day opening for Deadpool was $132.4M, while four-day was $152.1M. Deadpool owns the all-time record at the domestic box office for both a R-rated movie and a 20th Century Fox release.
Fox is projecting $130M through Sunday for Deadpool 2, while the town is bullishly predicting more at $150M. Even on the low end, that’s one of the top seven starts for a May release behind last year’s Guardians of the Galaxy Vol. 2 ($146.5M). Working in the pic’s favor is that sweet under-25 spot, with 72% of colleges on summer break tomorrow.
To clarify for some out there: While Deadpool is based on a Marvel comic book, it’s not part of the Disney McU (not yet at least). Years ago, when Marvel was selling off film rights for its superheros, Fox scored those for X-Men, Deadpool, Cable, Gambit and The Fantastic Four, among others.
In other news, yesterday we heard that Paramount’s older-female-skewing Book Club could overindex its $9M-$10M tracking with a three-day that’s in the high teens, possibly $20M. That wasn’t off any 5 Pm preview projections last night; rather, Fandango spotted advance ticket sales for the movie pacing with My Big Fat Greek Wedding 2 ($17.8M) and far ahead of older-skewing titles Last Vegas ($16.3M) and Going in Style ($11.9M). Again, we’ll see how the advance tix translate.
In regard to Thursday night previews, Book Club posted $625,000, which is in between The Intern‘s $650K preview night and Going in Style‘s $600K. Intern posted a $6.2M Friday and $17.7M weekend while Going in Style earned a $4.3M Friday.
Given how older crowds make their way to the cinema slower, the hope with these films is the leg-out factor, and that boils down to how long a distributor can convince a multiplex to keep a title on screens. Even when these movies are making money, some exhibition bookers get thick-headed and move holdovers out for fresher fare, even if it’s B-grade and only destined to last two weeks.
Social media monitor Relish Mix reports it’s noticing fans of Diane Keaton, Jane Fonda and Candice Bergen chiming in that they’re excited to see the pic, with many women tagging each other on Facebook for a girls night out. Fonda is the social media champ for the film across Twitter, Instagram, and Facebook with 1.6M followers, followed by Alicia Silverstone, who counts 1.5M. Keaton has 700K.
The stars of Book Club left a spicy message for Reynolds on Deadpool 2‘s opening weekend.
Hey @vancityreynolds – You’re not the only one that kills in a tight little red outfit. We’ll show you ours if you show us yours.
xoxo
The Ladies of @BookClub pic.twitter.com/m0I4Nw327P
— Jane Seymour Fonda (@Janefonda) May 15, 2018
Global Road has Show Dogs this weekend, which is looking to do in the high single digits, while Disney’s almighty Avengers: Infinity War is forecast to make around $32M, for a running total by Sunday of $598M — not too far from the six-century mark. On Thursday, the Russo brothers-directed movie made $3.4M.
- 5/20/2018
- by Anthony D'Alessandro
- Deadline Film + TV
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