Settai cut its screen count by over 50% in its second weekend, grossing $15,245 to bring it to a $76,665 North America cume.
Two other Indian hoid-overs posted paltry results over the weekend. Himmatwala opened in 99 screens three weeks ago and dropped to 66 in its second week, seeing a very steep drop off in its gross. Himmatwala only played in three locations over the weekend, grossing $669. The North America cume is $669. In comparison, Kai Po Che grossed $538 over the weekend in a single screen during its eight week in North America. Kai Po Che's North America cume is $1,120,785.
Chasme Baddor opened wide in 1325 screens across India, taking the top spot at the box office with $5.3 million. A limited re-release of the original version of Chashme Baddor broke into the top ten with $17K. Hold-over Himmatwala had a steep drop in its second week, adding $1.1 million to its $8.5 million cume. The weekend's other new release, Rise of the Zombie, took in $55k in 150 screens.
Read more about the Indian box office and film industry at BoxOfficeIndia
Settai opened in 33 screens in North America, posting a $52,386 gross over the weekend.
Himmatwala dropped its screen count in its second week to 61 from last week's 99 and saw a steep drop off. It grossed $23,124 over the weekend to reach a $262,568 cume in North America.
Kai Po Che added $1,114 in only 2 screens for its seventh weekend in North America. The North American cume is $1, 119, 876.
The legendary Indian actor discusses how he ended up in this summer's The Great Gatsby in a recent blog post:
It all started with a public relations lady calling my office and informing me that Mr Baz Luhrmann was wanting to talk to me for a project he was involved in. I thought it was a bad joke and ignored the lady. But when it came repeatedly, I agreed. Baz Luhrmann had a couple of years ago, while travelling through India with a friend on a motorbike, visited me at my office... Now as I waited to connect with him on Skype, I wondered whether he would remember my face and how we would converse. But the connection was good, the offer for doing a small role was accepted... and soon we were exchanging notes voices and intonations for the Jewish mafia head Meyer Wolfshiem in ‘20's New York!...
Came the time for the shoot at Sydney, and the apprehension grew... Baz called me over the first day to his home, a warm old world charmed structure, well maintained, with his polished motorbike and a Ganesh on his verandah... soon as we sat in his office section the others arrived - Leonardo, Toby and Joel Edgerton... The next day it was back to the studio and to the cute little cottage that was exclusively Baz Luhrmann's work place. The entire cast was there. In a small but comfortable dining table all the main artists, about 15 of us sat down to an introduction of the film its niceties and how the atmosphere of the film would be. After a quick snack there, we shifted to the main floor, where the entire participants sat down to another reading with mikes and cameras recording all that was being spoken. Then we read again the entire script, asked to move about as we deemed fit. And then another reading, in the presence of a test audience, which sat about us quietly noting all that was being enacted. This completed, there was a question answer session. The test audience made remarks, the artists spoke about what they felt, Baz gave his inputs and then we wrapped for the day...
The sets were an eye opener for me. Grand and colossal in its presence and opulence... All about was like an imagination fructifying to reality. The sincerity of all that worked, including the main stars, the earnestness of the director his crew and the unimaginable detail of authenticity, all added up to an experience which when I returned to my room, could not fathom !!... I can say that in my 44 years and 180 films I had never worked in such a set up. Thank you Baz Luhrmann and his crew, and Warners for this experience.