PRESS RELEASE:

MACCS_VISTA.png

Studio will Release All Titles Worldwide Using MACCS Theatrical Distribution Software

[Los Angeles, CA; July 15, 2015] -- MACCS International, the largest developer of theatrical distribution software for the global motion picture industry with over 100 distributors in 38 territories among its clientele and a subsidiary of Vista Group International, today announced that Warner Bros. Entertainment Inc. has licensed MACCS Theatrical Distribution Software to run its domestic theatrical distribution. Warner Bros. Pictures domestic distribution operates in the United States and Canada and joins Warner Bros. Pictures International, which, for over a decade, has used the MACCS technology to distribute films across its international territories. This marks the first time the Studio has centralized its theatrical distribution operations under one technology platform.

"Warner Bros. has always been at the forefront of providing innovative solutions to drive our businesses forward. MACCS has been a long-time partner of Warner Bros. Pictures International and I am glad to be able to expand the MACCS technology to domestic distribution," said Tom Roach, Senior Vice President and Co-General Manager, Warner Bros. Technology Solutions. "As the leading provider of motion pictures to cinemas around the world, Warner Bros. puts confidence in technology providers like MACCS International who can quickly adapt to a changing and dynamic global business environment."

MACCS Theatrical Distribution Software manages all aspects of a motion picture theatrical release including sales planning, booking contracts, terms management, holdovers, digital print inventory, box office data, invoicing, and cash receivables. It interfaces with multiple general ledger systems and, through its MaccsBox API services, provides a single point of contact to third-party systems including those of exhibitors, post-production houses and shipping depots. Its design around automation provides efficiencies and improved business intelligence and is available in multiple languages and currencies.

"Over the past decade, we have developed a close relationship with Warner Bros. as we expanded our software across 38 territories," said Bert Huls, MACCS CEO and Jesse Chow, MACCS Senior Vice President and General Manager North America. "We're delighted that Warner Bros. has trusted us to bring MACCS' leading technology to domestic distribution and leverage benefits across Warner Bros.' entire worldwide operation."

Read more

Picture_Jesse.jpg

by Daniel Loria

For more than two decades, MACCS International's software has served as a vital link between distribution and exhibition outside North America. Now part of the Vista Group, MACCS continues to expand around the world. BoxOffice spoke with Jesse Chow, senior vice president and general manager of MACCS International in North America about the company's current and future projects.

MACCS has been able to establish a great presence in the European market over the years. Would you say your European presence serves as a sort of blueprint for your international strategy?

It's where we started 20 years ago, and our services are able to automate and connect data flow between distributors and exhibitors in the region-release schedule information, box office data, attendance, and industry norms and local laws from each territory. We sit in the middle of it, where everyone needs to look at the same set of data in order to effectively run their businesses and communicate back and forth on a weekly basis from bookings to operations and shipping. It won't necessarily work in every single territory; we're not saying it's a one-size-fits-all solution, but on a case-by-case basis where you have the right competitive environment and the right statutory structure that allows distributors and exhibitors to work together, we're happy to look at that and see what kinds of benefits we can roll out. It gets to the whole Vista Group story and their interest in investing in MACCS; they own 50.1 percent of us. We're now able to connect our customers' systems and data together in a manner that suits everyone involved and drives the business forward. There's a lot of opportunity for exhibition and distribution to work together, and our experience in Europe is a model of that.

Your track record in Europe has opened doors in Asia and Latin America as well.

We have been very fortunate to have big customers like Warner Bros., Paramount, and Entertainment One that have exposure in different regions and territories around the world. They effectively establish standards, best practices, and efficiencies in the way they do business in the regions they're present in. Through them we were able to realize that our software does well anywhere you put it; we're in 38 territories right now, and we certainly think there's space for more growth. We look at every place on a case-by-case basis as to what really makes sense for the potential customers in the region and our company. At the end of the day, you're in the business of film licenses and rights, establishing contracts with exhibition, shipping and sending out invoices for film rentals; that whole process has now been standardized since the studios' distribution network was expanded internationally. To have software built from the ground up like MACCS's, from financials and accounting, to go and cover the flexibilities around planning and booking, we feel that model has proven to work time and time again regardless of the region.

Has that flexibility made it easier to tackle emerging markets? I understand you've just introduced MACCS to African distributors.

We just signed two new customers in the region over the past year, and they are both quite different from each other. You're talking about a land mass that is larger than any other in the world, hundreds of millions of people across the continent. One of our recent customers is M-Net, one of the largest pay-TV companies in South Africa that also have satellite distribution and terrestrial broadcast and have developed a theatrical distribution business as well. We also signed with Crimson Multimedia, based out of Kenya, and they are the predominant distribution company in East and West Africa-you have incredible opportunity for growth out there. We're present in countries there that predominantly speak English and have Western values, and most of the film that is distributed in those territories is Hollywood and Bollywood content. They project continued screen growth in the region-it's healthy, but it's by no means China. With clients like ours in the region who are actively investing in new screens in the region, combined with software like ours, we are trying to build part of the infrastructure to grow the region.

 

Read more

jul10wknd.png

By Daniel Garris

Minions continued to comfortably lead the daily box office on Monday with $12.95 million. The blockbuster 3D computer animated spin-off from Universal and Illumination Entertainment fell 58 percent from Sunday's performance. Minions has grossed a very strong $128.66 million in four days. That is on the very high end of the film's lofty pre-release expectations and places the film 27.5 percent ahead of the recent $100.93 million four-day start of Inside Out. Minions is running 8 percent ahead of the $119.41 million four-day take of 2013's Despicable Me 2, though it should be noted that Despicable Me 2 opened on a Wednesday (which will lead to Minions losing most of its current percentage lead by the end of today). Minions marks yet another blockbuster level performer for Universal in 2015, as it joins the likes of Jurassic World, Furious 7, Pitch Perfect 2 and Fifty Shades of Grey.

Fellow 3D computer animated film Inside Out placed in a distant second with $2.40 million. Inside Out was down 54 percent from Sunday and down 52 percent from last Monday. The blockbuster film from Disney and Pixar has held up respectably since Minions entered the marketplace on Friday. The 25-day total for Inside Out Stands at $286.59 million. That leaves the film just $13.41 million away from reaching the $300 million domestic milestone and places the film an impressive 20 percent ahead of the $239.29 million 25-day gross of 2013's Monsters University.

Universal's Jurassic World took third place for the day with $2.15 million. The 3D sci-fi adventure blockbuster sequel declined 59 percent from Sunday and 48 percent from last Monday. Jurassic World has grossed a massive $592.84 million through 32 days of release. The film is now just $7.16 million away from becoming the fourth film to ever reach the unadjusted $600 million domestic mark. Jurassic World is running 7 percent ahead of the $554.99 million 32-day take of 2012's Marvel's The Avengers.

Paramount's Terminator Genisys placed in fourth with $1.60 million. The pricey Arnold Schwarzenegger led 3D sci-fi action sequel fell a sharp 62 percent from Sunday and 53 percent from last Monday. Terminator Genisys passed the $70 million mark yesterday and has grossed $70.45 million in thirteen days. That is below the film's already scaled back expectations and places the film 24.5 percent behind the $93.34 million thirteen-day take of 2009's Terminator Salvation.

Warner's Magic Mike XXL rounded out Monday's top five with $1.29 million. The Channing Tatum led sequel was down just 47 percent from Sunday and down 45 percent from last Monday. Magic Mike XXL has grossed $49.59 million in thirteen days and is set to surpass the $50 million mark today. While it has rebounded nicely over the past week, Magic Mike XXL is still performing significantly below expectations and is running 38 percent behind the $80.37 million thirteen-day gross of 2012's Magic Mike.

Warner's The Gallows and Focus' Self/Less took sixth and eighth place on Monday with respective daily grosses of $1.11 million and $0.644 million. The Gallows was down 49 percent from Sunday, while Self/Less was down 57 percent. Respective four-day grosses stand at a modest $10.92 million for The Gallows and at an expectedly disappointing $6.05 million for Self/Less. Both films should fade away from theatres very quickly.

Read more

jul10wknd-alt.png

By Daniel Garris

Minions delivered in a very big way this weekend with a $115.72 million debut. The highly anticipated 3D computer animated spin-off from Universal and Illumination Entertainment opened on the high end of its very lofty pre-release expectations. Without adjusting for ticket-price inflation, Minions scored the second largest opening weekend take ever for an animated film; behind only the $121.63 million start of 2007's Shrek the Third. Minions opened just ahead of the $110.31 million debut of 2010's Toy Story 3. Minions was an impressive 28.5 percent stronger than the $90.03 million three-day start of 2013's Despicable Me 2 (though it should be noted that Despicable Me 2 opened on a Wednesday). Minions was clearly helped out by goodwill from both Despicable Me films and by a very high-profile marketing campaign that was seemingly everywhere. Potential sequel fatigue for the film may have also been turned into a non-factor in this case thanks in part to the film's nature as a spin-off.

Minions opened with $46.04 million on Friday (which included an estimated $6.2 million from Thursday evening shows that began at 6 p.m.), decreased 16 percent on Saturday to gross $38.86 million and declined 21 percent on Sunday to gross $30.82 million. That placed the film's opening weekend to Friday ratio at 2.51 to 1, which is a sign of initial front-loading. Mixed critical reviews and the film being the third installment of its franchise will likely lead to the film being significantly more front-loaded than both previous Despicable Me films were. At the same time, Minions did receive a strong A rating on CinemaScore, which suggests that the film is going over better with audiences than it has with critics. Going forward the film should also be helped out by the lack of high-profile animated films on the remainder of this summer's schedule.

The audience breakdown for Minions skewed towards female moviegoers (59 percent) and towards moviegoers under the age of 25 (55 percent). Family audiences made up 60 percent of the film's overall audience. Minions marks yet another blockbuster level performer for Universal in 2015, as it joins the likes of Jurassic World, Furious 7, Pitch Perfect 2 and Fifty Shades of Grey.

Universal also claimed second place this weekend as Jurassic World took in $18.15 million over the frame. The 3D sci-fi adventure blockbuster sequel was down a very solid 38 percent from last weekend's performance (which had been deflated a bit by Independence Day falling on Saturday). Without adjusting for ticket price inflation, Jurassic World registered the seventh largest fifth weekend performance of all-time. Jurassic World has grossed a massive $590.69 million through 31 days of release, which leaves it just $9.31 million away from becoming the fourth film ever to reach the $600 million domestic milestone. Jurassic World is currently running $37.74 million and 7 percent ahead of the $552.95 million 31-day take of 2012's Marvel's The Avengers.

Inside Out followed closely behind in third with $17.67 million. The 3D computer animated blockbuster from Disney and Pixar was down 41 percent from last weekend. That represented a solid hold, especially when considering the new direct competition the film faced from Minions this weekend. Inside Out continues to outpace expectations with a very strong 24-day take of $284.20 million. That leaves the film just $15.80 million away from reaching the $300 million domestic milestone. Inside Out is running an impressive 19.5 percent ahead of the $237.77 million 24-day gross of 2013's Monsters University and 16 percent behind the $339.24 million 24-day take of 2010's Toy Story 3.

Paramount's Terminator Genisys placed in fourth with $13.83 million. The pricey Arnold Schwarzenegger led 3D sci-fi action sequel fell 49 percent from last weekend. Terminator Genisys has grossed $68.85 million in twelve days of release. The film continues to perform below its already scaled back expectations and is running 26 percent behind the $92.66 million twelve-day gross of 2009's Terminator Salvation. At this rate Terminator Genisys is likely to fall short of reaching the $100 million domestic mark; especially with Disney's Ant-Man, Sony's Pixels and fellow Paramount release Mission Impossible: Rogue Nation all entering the marketplace throughout the rest of July.

Warner's The Gallows opened in fifth place with $9.81 million. The low-budget horror film from New Line and Blumhouse Productions opened on the lower end of its modest expectations. The Gallows had generated high levels of online activity in the days leading up to its release, but that ultimately didn't help at the box office this weekend. Potential for the film was likely limited somewhat by its R rating and its poor critical reviews. The Gallows opened nearly on par with the $10.20 million start of The Lazarus Effect earlier this year.

The Gallows started out with $4.51 million on Friday (which included an estimated $900,000 from Thursday evening shows), fell a troubling 31 percent on Saturday to gross $3.11 million and declined 30 percent on Sunday to gross $2.19 million. That gives the film an opening weekend to Friday ratio of just 2.18 to 1. That isn't a good early sign going forward and neither is the film's modest C rating on CinemaScore. The audience breakdown for The Gallows skewed slightly towards female moviegoers (52 percent) and slightly towards moviegoers under the age of 25 (53 percent).

Fellow Warner Bros. release Magic Mike XXL held up well this weekend with a sixth place take of $9.58 million. That was down just 25.5 percent from last weekend's holiday deflated performance. The modestly budgeted Channing Tatum led sequel has displayed strong holding power over the past week, but in the bigger picture the film is still performing significantly below expectations with a twelve-day take of $48.30 million. Magic Mike XXL is currently running a lackluster 38 percent behind the $77.86 million twelve-day gross of 2012's Magic Mike.

Meanwhile, Self/Less debuted in eighth place with $5.40 million. The Ryan Reynolds led sci-fi film from Focus and Gramercy opened to disappointing results and had been widely expected to do so heading into the weekend. Self/Less opened 57 percent below the $12.69 million debut of 2013's R.I.P.D. Self/Less started out with $1.96 million on Friday, decreased a slim 1 percent on Saturday to gross $1.94 million and declined 22 percent on Sunday to take in $1.50 million. That gives the film an opening weekend to Friday ratio of 2.75 to 1. Self/Less did receive a solid B+ rating on CinemaScore, but in all likelihood that won't matter going forward given the film's soft start this weekend.

Read more

papertowns.jpg

By Alex Edghill

Monday Morning Update: So Minions finally debuted to a massive $115 million this past weekend, thereby validating and explaining all the months and months of hype it has generated on Facebook and Twitter.

Paper Towns came away with the Facebook crown this past week as it was the only film to cross six digits (111,486) in new likes. Its overall like number now stands at 1,255,662, a very hefty number for the young adult adaptation genre. Author John Green's last (and only adaptation to date) The Fault In Our Stars had 2,905,597 likes at the exact same distance from release so this is running at a little less than half so far. Considering that Paper Towns doesn't have a big recognizable actor like Shailene Woodley (who was red hot going into Fault thanks to her role as Tris in Divergent), the fact that it has grabbed over 1 million likes so far is a huge plus. Recent comparisons that come to mind include The DUFF which had 168,311 likes at the same distance before release, The Longest Ride and its 205,275 likes and If I Stay which had 652,150 likes. We are currently predicting $32 million on opening weekend.

The Goosebumps trailer had enough in it to see it snag second spot on the week on Facebook with more than a 50% jump to just shy of 200,000 likes. A modern-day Jumanji the film's marketing has started better than I would have expected and if the film can appeal to family audiences rather than just fans of the Goosebumps novels and TV shows.

Deadpool had its first trailer leak online after it was aired to fans at the San Diego Comic Con over the weekend and it has started to explode on both Twitter and Facebook. With many fans worried that film makers would tone down the anti-heroes wit and irreverence, the trailer goes a long way to reassure that it is going to be a faithful adaptation of the comic character.

Star War: The Force Awakens also made the top 5 as it seems to do just about every week. Its added over 600k new likes on the year so far on top of its existing 13 million which is very strong. It is such a massive pop culture mainstay that I believe this will linger in the top 5-10 until release even without any major news.

Facebook Top 5 Movies by Like Increase for the last week Ending Sunday July 12th

Rank Release Movie Likes Previous Change % Change
1 07/24/15 Paper Towns 1,255,662 1,144,176 111,486 9.74%
2 10/16/15 Goosebumps 197,814 129,297 68,517 52.99%
3 02/12/16 Deadpool 247,904 192,140 55,764 29.02%
4 07/17/15 Trainwreck 334,084 281,668 52,416 18.61%
5 12/18/15 Star Wars: The Force Awakens 13,901,033 13,855,149 45,884 0.33%

Subscribe to Box Office for more social media insights/coverage.

Please check the methodology page for information about our Twitter project or here for historic data.

Read more

Subscribe to Articles Feed