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Cinema do Brasil to Invest Big in Promoting Brazilian Films at International Festivals on January 30, 2013

Cinema do Brasil -- a national organization formed by a coalition between several groups including the Audiovisual Industries Union for the State of São Paulo, the Cultural Department of the Ministry of External Relations, and the Brazilian National Film Board -- will give sales agents $40K to promote Brazilians films at international festivals. The new initiative will launch at this February's Berlin Film Festival, where the major Brazilian films in contention will be Bruno Barreto's Reaching for the Moon and Maria Florencia Alvarez's Habi, the Foreigner. Said Cinema do Brazil's Andre Sturm, "Promoting a film selected in these events is costly work. This action provides resources to sales agents that were successful in including Brazilian films in important festivals, to allow them to do an even better job." The goal of the CDB is to build ties to distribute Brazilian films abroad and encourage international co-productions. Plans have already been announced to donate the same amount of financing to upcoming film festivals in Cannes, Locarno, Venice and San Sebastian.

ADRIAN SMITH NAMED PRESIDENT, SONY PICTURES RELEASING DOMESTIC DISTRIBUTION on January 29, 2013

CULVER CITY, Calif. -- Adrian Smith has been promoted to the position of president of Sony Pictures Releasing Domestic Distribution, it was announced today by Rory Bruer, president of Worldwide Distribution for Sony Pictures Entertainment. In conjunction with the promotion, Adam Bergerman and John Spinello have been named Assistant General Sales Managers for Domestic Distribution and each will report to Smith.

The promotions are part of a realignment of the studio's domestic distribution division. Commenting on the announcement, Bruer said, "For nearly 25 years, Adrian has helped to make our domestic team the best in the business. He is one of the most savvy and skilled sales executives in our industry. Adrian is both respected and beloved by our team and our exhibition partners."

Smith added, "Adam and John collectively bring over 30 years of experience to the company - both have been with us since the mid-1990s and have played key roles in building all of our key franchises, from Spider-Man and Men in Black to Robert Langdon, not to mention the three biggest James Bond films of all time. It's an honor to work with two of the most accomplished and well regarded sales executives in the industry and these promotions are well-deserved. I feel privileged to work with such a dynamic and experienced distribution team."

Smith is a veteran of hundreds of release campaigns, joining Sony Pictures in 1989 as western district manager for TriStar Pictures. In 2000, he was named senior vice president and western division manager for Sony Pictures Releasing, and in 2011, he was appointed executive vice president and general sales manager, overseeing domestic sales for all Sony Pictures films. He began his career at Mann Theatres in Westwood in 1976, then segued to the sales department at United Artists in 1979. He joined 20th Century Fox in 1983, then was appointed branch manager at Cannon Releasing in 1985.

Spinello joined Sony Pictures in 1997 as managing director, Eastern Sales Division and was promoted to vice president, Eastern Sales Division in 2003. He was again promoted to senior vice president / division manager Eastern Sales Division in 2008. He began his career at United Artists Theaters in 1991, joining their film division in 1992 and overseeing numerous territories.

Bergerman joined Sony Pictures in 1996 as a booker for the Eastern Division, was promoted to sales manager Eastern Division in 1998, district manager for the Eastern Division in 2001, vice president / managing director for the Eastern Division in 2009, and senior vice president / division manager for the Western Division last year.

 

REGAL ENTERTAINMENT GROUP’S AMY MILES TO RECEIVE 2013 NATO MARQUEE AWARD AT CINEMACON® on January 29, 2013

WASHINGTON D.C. -- The National Association of Theatre Owners (NATO) will honor Amy Miles, Chief Executive Officer of Regal Entertainment Group, when they present her with the 2013 NATO Marquee Award during this year's CinemaCon, it was announced today by the convention's Managing Director Mitch Neuhauser. CinemaCon, the largest and most important convention for the motion picture theatre industry, will be held from April 15-18, 2013 at Caesars Palace in Las Vegas at which time more than 5,000 industry members will be gathering. Miles is being singled out by NATO for her unequalled dedication, commitment and service to the motion picture theatre industry. She will receive her industry tribute as part of CinemaCon's "State of the Industry: Past, Present and Future" presentation on Tuesday morning, April 16.

"Amy Miles has proven herself time and time again as a strong and influential leader via her various executive roles within the industry," noted Mitch Neuhauser. "We couldn't think of a more deserving recipient, and are extremely honored to present the 2013 NATO Marquee Award to Amy Miles."

Amy Miles was named the Chief Executive Officer of Regal Entertainment Group in June 2009. During her tenure as Chief Executive Officer, Regal Entertainment has worked with industry partners to convert the exhibition industry to a digital cinema platform. Prior to serving in her current role, she served as the company's Executive Vice President, Chief Financial Officer and Treasurer since March 2002, and she served as the Executive Vice President, Chief Financial Officer and Treasurer of Regal Cinemas, Inc. from January 2000 to March 2002. Prior thereto, she served as Senior Vice President of Finance from April 1999 to January 2000. And prior to joining Regal, she was a Senior Manager with Deloitte & Touche from 1998 to 1999, and served in various capacities with PricewaterhouseCoopers, LLC from 1989 to 1998. Miles formerly served as NATO's Treasurer and currently chairs NATO's Investment Committee, and she is a member of NATO's Executive and Advisory Boards and serves on its Audit Committee as well. She also serves as a director on the boards of Regal Entertainment Group, National CineMedia, Variety of Eastern Tennessee and the Regal Foundation. This past December, she was named to The Hollywood Reporter's 21st annual "Women in Entertainment: Power 100" list.

In addition to the NATO Marquee Award presentation, "The State of the Industry: Past, Present and Future" program will include a special salute to the top grossing films of 2012, presented in 3-D, as well as industry addresses by MPAA Chairman Senator Chris Dodd and NATO President and CEO, John Fithian.

 

FANDANGO MOVIEGOERS NOW CAN BUY TICKETS USING SIRI on January 28, 2013

LOS ANGELES -- Fandango, the nation's leading moviegoer destination, today announced its customers using iOS devices now can enjoy the next evolution of movie ticket purchasing through Siri, Apple's intelligent personal assistant that helps you get things done just by asking. This new Siri feature is available on iPhone, iPad and iPod touch running iOS 6.1, the latest version of Apple's mobile operating system.

iOS 6.1 makes it convenient to purchase tickets through Fandango's award-winning mobile app. Using iOS devices, moviegoers simply ask Siri to find a specific movie, nearby theaters or desired showtimes. Siri then offers the option to "Buy Tickets" and launches the Fandango app for customers to complete their ticket purchase. For added convenience, moviegoers can add their Paperless Mobile Tickets to Passbook, which lets them scan their iPhone or iPod touch to get into the movie at select theaters.

"Fandango is committed to innovating across all platforms and helping shape the future of moviegoing," said Paul Yanover, President of Fandango. "With this new Siri feature, movie fans can quickly and easily discover the nearest theaters, find the most convenient showtimes, and buy tickets through Fandango to help make movie night perfect."

Mobile continues to be a strong driver of traffic and ticket sales for Fandango. Fandango's 2012 mobile ticket sales increased 171 percent year-over-year, now accounting for more than 30 percent of overall Fandango ticket sales. Downloads of Fandango's popular mobile apps in 2012 also experienced a 50 percent increase over the previous year, with total downloads surpassing the 31 million mark. Following Apple's launch of Passbook, downloads of Fandango's iOS app skyrocketed, boosting Fandango to one of the top 10 free entertainment apps in the App Store.

The Fandango App is available for free from the App Store on iPhone, iPad and iPod touch, or at www.itunes.com/appstore/.

 

UPDATED: 'The Hobbit: An Unexpected Journey' Closes In On $950 Million Globally on January 27, 2013

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Sunday (1/27/13) Update: WB reports that The Hobbit made $7.3 million overseas this weekend from 4,580 screens, pushing its total to $646.3 million. The global cume is now $939.5 million.

A February 22 release in China should be the final boost The Hobbit needs to hit $1 billion globally. 

Key stats from WB (weekend gross/cume):

Germany - $1.3m / $85.2m
UK - $900k / $82.2m
France - $580k / $44.2m
Russia - $75k / $43.6m
Spain - $386k / $29.1m
Italy - $22k / $22.1m
Korea - $2k / $21.8m
Mexico - $110k / $19.3m
Japan - $215k / $19.3m
Brazil - $35k / $17.7m

 

Monday (1/21/13) Update: WB confirms today that The Hobbit took in $13.2 million over the weekend from 6,811 screens in 63 markets. The international cume is $632.3 million.

Sunday (1/20/13) Update: WB reports that The Hobbit made $13.2 million overseas from more than 7,400 screens in 63 markets, pushing its overseas total to $632.2 million. The fantasy flick's global total is now $919.6 million. 

Sunday (1/13/13) Update: WB reports that The Hobbit is now up to $886.1 million globally. $608 million overseas + $278.1 million domestically. Key overseas stats from WB:

The Hobbit grossed $26.1m with approximately 2.56m admissions from over 10k screens in 63 markets. This represents an excellent holdover drop of 55% post holidays, and the international cume to date is now $608m.

Australia's 3rd w/e grossed an estimated A$3.25m (US$3.4m) from 512 screens, representing a drop of 44% from the prior weekend, and ranking #2 behind LIFE OF PI (2nd w/e). The cume to date is now A$34.7m (US$36.0m). We are in great shape to play through the Summer holidays during the month of January.

Top 12 Cumes: (Weekend / drop / cume):

Germany - $4.1m / -56% / $79.8m

UK - $3.1m / -52% / $78.4m

France - $1.9m / -64% / $42.1m

Russia - $1.6m / -71% / $41.6m (post-Russian Orthodox Christmas)

Spain - $1.2m / -17% / $27.7m

Korea - $90k / -87% / $21.7m

Italy - $459k / -68% / $21.7m

Sweden (MGM) - $650k / -60% / $19.5m

Mexico - $601k / -36% / $18.4m

Japan - $759m / -32% / $17.4m

Brazil - $474k / -55% / $17.0m

Holland - $808k / -59% / $13.8m

 

Monday (1/7/13) Update: WB reports that The Hobbit's overseas gross for this past week came in higher than expected. The latest:

The Hobbit took in $58.6 million with 5.9 million admissions from 13,330 screens in 64 markets, bringing the international cume to date to $562.8 million.

Key market weekend results and cumes:

Germany - $9.5m / $74.1m/ rank #1
UK - $6.6m / $72.4m/ rank #1
France - $5.3m / $39.7m/ rank #1
Russia - $6.7m / $38.1m (rough estimate given current Orthodox Christmas holiday)
Australia - $6.1m / $29.7m / rank #1
Spain - $1.4m / $25.85m/ rank #1
Korea - $709k / $21.5m
Italy - $1.4m / $21.0m
Sweden (MGM) - $1.6m / $18.3m
Mexico - $938k / $17.3m
Brazil - $1.2m / $15.8m
Japan - $1.1m / $15.75m

 

Sunday (1/6/13) Update: WB reports that The Hobbit took in another $56.1 million overseas this weekend, pushing its global total to $825 million. Key stats:

Australia (2nd weekend) grossed an estimated A$5.85m (US$6.1m) from 560 screens. The cume to date is now A$28.6m (US$29.7m).


Top Markets By Cume: (Weekend / drop / cume):

Germany - $9.4m / -45% / $74.0m

UK - $6.5m / -41% / $72.3m

France - $5.2m / -42% / $39.6m

Russia - $5.1m / +8% / $36.4m

Spain - $1.6m / -53% / $26.0m

Korea - $715k / -63% / $21.5m

Italy - $1.4m / -61% / $20.9m

Sweden (MGM) - $1.8m / -31% / $18.5m

Mexico - $1.0m / -41% / $17.4m

Brazil - $1.2m / -34% / $15.8m

Japan - $1.1m / -4% / $15.7m

Holland - $2.1m / -29% / $12.8m

Denmark (MGM) - $910k / -63% / $11.2m

Norway (MGM) - $683k / -49% / $10.6m

Switzerland - $1.25m / -41% / $8.9m

New Zealand - $675k / -49% / $7.6m

 

Saturday (1/5/13) Update: We're projecting that The Hobbit will gross $17.5 million this weekend. That means that an overseas total of $22.8 million over the weekend would push the fantasy flick past $800 million. 

Friday (1/4/13) Update: The latest overseas data from WB is below. The domestic total is up to $246.3 million + $513.4 million overseas = $759.7 million.

Going into the weekend, THE HOBBIT has crossed the $500m milestone!

Thursday grossed an estimated $14.5m in 65 markets, bringing the cumulative total to $513.4m. We will issue an update on Sunday.

Top Market Cumes (through NZ):
Germany - $66.8m
UK- $65.8m
France - $36.3m
Russia - $32.7m
Australia - $25.1m
Spain - $24.4m
Korea - $20.9m
Italy - $19.9m
Sweden - $16.7m
Mexico - $16.4m
Brazil - $14.6m
Japan - $13.9m
Holland - $11.2m
Denmark - $10.4m
Norway - $9.9m
Switzerland - $8.2m
New Zealand - $7.2m

Tuesday (1/2/13) Update: WB reports that The Hobbit's domestic total is now $238.1 million. Add that to $464 million, the most recent overseas total, and The Hobbit now has at least $702.1 million in the bank. 

Monday (1/1/13) Update: WB reports that The Hobbit's domestic total is now up to $228.7 million.

Sunday (12/30) Update #2: The latest overseas stats from WB:

THE HOBBIT: AN UNEXPECTED JOURNEY had another fantastic weekend, grossing $106.5m with approximately 13.7m admissions from nearly 16,600 screens in 62 territories. The holdover drop was a fantastic 12% and we continue to rank #1 for the 3rd straight week across the world, including France, Germany, Spain and the UK. The international cume through Sunday is $464m.

Key Opening:

Australia grossed an outstanding A$18m ($18.6m) from 560 screens and ranked a commanding #1. By comparison, results were:

84% ahead of LOTR 1
27% ahead of LOTR 2
41% ahead of LOTR 3
46% ahead of SKYFALL
43% ahead of AVATAR
19% ahead of THE DARK KNIGHT RISES

Key market holdovers (Weekend / drop / cume )

Germany (3rd): €12.6m ($16.7m) / +16% /€45.8m ($60m)
UK (3rd): £6.7m ($10.9m) / +12% / £35.8m ($57.7m)
France(3rd): €6.6m ($8.6m) / +23% / €23.8m ($31.2m)
Russia (2nd): Rbl 170m ($5.6m) / -64% / Rbl 835m ($27m)
Spain (3rd): €2.6m ($3.5m) /-28% / €17.2m ($22.4m)
Korea (3rd): Krw 1.9b ($1.7m) / -51% / Krw 21b ($19.5m)
Italy (3rd): €2.6m / $3.4m / par / € $13.7m ($17.9m)
Mexico (3rd): Ps 23m ($1.77m) / -25% / Ps 193m ($15.1m)
Sweden (MGM) (3rd ): Sek 16m / +33% / Sek 98.5m ($14.8m)
Brazil (3rd): R3.7m ($1.8m) / -21% / R28m ($13.4m)

Sunday (12/30) Update: WB estimates that The Hobbit will take in $32.9 million this weekend, pushing its domestic total to $222.7 million. The most recent overseas total is $400 million, but an updated figure is due today. The Hobbit's global haul is at least $622.7 million by now.

Saturday (12/29) Update: WB reports that The Hobbit earned $10.7 million on Friday, pushing its domestic total to $200.5 million. The worldwide take is at least $575 million at this point. 

Friday (12/28) Update: The latest overseas stats from WB:

Coming off of a strong Wednesday Boxing day, Thursday continued to deliver huge numbers generating an estimated $26m from 62 territories, an outstanding increase of 34% over last week. We continue to rank #1 in key markets and across the world, and the international cume to date now stands at $373m.

Australia's Thursday performance was an outstanding A$3.4m ($3.5m) from 557 screens, dominating the market with 52% of top 5, and 171% ahead of #2 LES MIS.

Key Market highlights (Thurs/drop or increase /cume in USD)

Germany: $4.1m / +90% / $47.3m

UK: $3.9m /+78% / $46.8m

France: $1.9m / +161% / $26.1m

Russia: $849k / -62% / $23.1m

Spain: $1m / +77% / $19m

Korea: $226k / -50% / $18.3m

Italy: $858k / +105% / $15.3m

Mexico: $512k / -9% / $13.3m

Brazil: $647k / +19% / $11.6m

Japan: $310k / -26% / $9.6m

New Zealand: $378k / +71% / $5.5m

 

Thursday (12/27) Update: Warner Bros. is reporting an updated internationally tally of $344 million for The Hobbit: An Unexpected Journey. Worldwide, the film now has now exceeded $523 million.

Wednesday Update: Warner Bros. reports that The Hobbit made $11.3 million domestically on Tuesday, pushing its total to $168.3 million. $288.5 million is the last overseas figure that Warner Bros. reported. The worldwide total is at least $456.8 million, so it's safe to say that The Hobbit has now reached $460 million worldwide based on its global strength. 

Monday Update: Warner Bros. reports that The Hobbit made even more than estimated overseas this past weekend. Domestically, the film has earned $149.9 million. Combine that with $288.5 million overseas and the worldwide total is now $438.4 million.

The overseas stats:

$96 million (10.1 million admissions from 18,417 screens in 59 markets) over the weekend. This marks a great holdover drop of 39%, with 3D contributing 60% of the total box office. The cume to date is a fantastic $288.5 million.

Top 5 Markets:

Russia (opg weekend) - stronger numbers than projected yesterday at Rbl 550m ($17.8m) with 1.9m admissions on 2,115 screens, including previews, rank #1. 3D represented 79% of the total box office.

2nd w/e Key Holdovers:

Germany - also much higher numbers than projected on Sunday at €10.8m ($14.2m) with 1.0m admissions on 1,408 screens, a drop of just 6%, ranking a strong #1. Cume to date €28.1m ($36.7m).

UK - £6.0m ($9.8m) with 986k admissions from 1,546 screens, a drop of 37%. Rank #1. Cume to date £23.9m ($38.4m).

France - €5.3m ($7.0m) with 720k admissions, a drop of 41%, rank #1, for a cume of €16.0m ($20.8m).

Spain - €3.7m ($4.8m) with 460k admissions on 1,010 screens, a drop of 40%, rank #1. Cume to date €11.6m ($15.1m).

 

Sunday Update #2: Warner Bros. reports that The Hobbit took in $91 million overseas with approximately 10 million admissions from over 18,600 screens in 59 territories, representing a good drop of 42% in the holdover markets. The overseas cume to date is now $284 million.

Key stats from WB:

Russia launched to an outstanding Rbl 520m ($16.8m) with 2.03m admissions on 2,129 screens, including previews, seizing the top spot with over 75% of the market share. 3D represented 65% of the total box office of which HFR generated 3% from 44 screens. The Russian market has grown significantly in the last 10 years, but in the interest of keeping a consistent comparative title list, results are:

995% ahead of LOTR 1
481% ahead of LOTR 2
313% ahead of LOTR 3
131% ahead of THE HUNGER GAMES
92% ahead of THE DARK KNIGHT RISES
73% ahead of SKYFALL
3% ahead of THE AVENGERS
74% of AVATAR


2nd w/e Key Holdovers:

Germany produced an outstanding hold, dropping just 17% from the opening weekend, grossing an excellent €9.6m ($12.6m) with 909k admissions on 1,408 screens. We ranked a strong #1 with a 61% share of the top 10 films in the market. This brings the cume to date to €26.9m ($35.1m).

UK grossed an excellent £5.6m ($9.1m) with 923k admissions from 1,546 screens, a drop of 41%. HAUJ ranked a clear #1, ahead of opener LIFE OF PI. The cume to date is now £23.5m ($37.8m).

France took in €5.1m ($6.7m) with 690k admissions, a drop of 44% from last weekend, for a cume of €15.7m ($20.5m). The film ranked #1 in the market edging out competition from the openings of LIFE OF PI and local film DE L'AUTRE CÔTÉ DU PÉRIPH.

Spain grossed an estimated €3.2m ($4.2m) with 419k admissions on 1,010 screens, dominating at rank #1. The cume to date is €11.1m ($14.4m).

Italy generated €2.4m ($3.1m) with 324k admissions from 734 screens on its 2nd weekend. The cume to date now stands at €8.1m ($10.6m).

Mexico generated an estimated Ps ­­30.5m ($2.4m) with 522k admissions on 1,767 screens, taking the top spot in the market, bringing the cume to date to Ps. 136.7m ($10.7m).

The grosses in Japan were an estimated ¥146.2m ($1.7m) with 96k admissions on 880 screens, with a 34% drop, for a cume of ¥637.1m ($7.7m).

 

Sunday (12/23/12) Update: Warner Bros. estimates that The Hobbit will take in $36.7 million during its sophomore frame. If the estimate holds, that'll put the fantasy flick's domestic total at $149.9 million by the end of Sunday.

Saturday (12/22/12) Update: Warner Bros. estimates that The Hobbit made $10.2 million on Friday. The fantasy flick's domestic total is now $123.3 million. 

Friday (12/21/12) Update: Warner Bros. estimates that The Hobbit made another $6.6 million on Thursday, pushing its domestic total to $113.2 million.

Thursday (12/20/12) Update: Warner Bros. estimates that The Hobbit made $6.3 million on Wednesday for a domestic total of $106.5 million. 

Wednesday (12/19/12) Update: Warner Bros. reports that The Hobbit made $7.9 million on Tuesday, pushing its total in North America to $100.2 million. 

Tuesday (12/18/12) Update: Warner Bros. estimates that The Hobbit took in $7.7 million domestically on Monday for a cume of $92.3 million. The prequel will hit $100 million domestically no later than Wednesday. 

Sunday (12/16/12) Update: Warner Bros. estimates that The Hobbit: An Unexpected Journey will open to $84.8 million during its debut frame. That sets a new unadjusted December opening-weekend record by topping the $77.21 million debut of 2007's I Am Legend. The Hobbit was unable to set a new record when adjusting for ticket price inflation. 2003's The Lord of the Rings: The Return of the King, which opened with $72.63 million in unadjusted terms, still holds that mark with an adjusted figure of $95.6 million

Saturday (12/15/12) Update: Warner Bros. estimates that The Hobbit took in $37.5 million on Friday. Boxoffice.com is projecting $95 million for the weekend.

Friday (12/14/12) Update #1: Warner Bros. is reporting this morning that The Hobbit: An Unexpected Journey took in $13 million from midnight screenings in North America overnight. The film debuted at 3,100 locations for a $4,193 per screen average. $1.6 million of the total came from IMAX at 326 locations.

The figure represents the best midnight gross ever in December.


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