'Wreck-It Ralph' Starts Strong Overseas on November 04, 2012
Disney estimates that Wreck-It Ralph was able to grab $12 million from 6 territories representing 11% of the international market. Add that to the domestic estimate of $49.1 million and the animated flick has a worldwide total of $61.1 million right out of the gate.
Brave, the last animated flick Disney distributed, was able to reach $79.8 million worldwide after its first weekend. The breakdown was $66.3 million domestic/$13.5 million international. Brave debuted in 10 territories representing 17% of the international market.
UPDATED: 'Taken 2' Hits $338.4 Million Worldwide on November 04, 2012
How Big Will 'The Hobbit' Be? on November 04, 2012
Tickets for The Hobbit: An Unexpected Journey will go on sale on Wednesday, November 7th. Let the hysteria begin.
Boxoffice.com is currently predicting a staggering $137 million debut for the prequel. Here's our breakdown of The Hobbit's strengths and weaknesses:
- Fan and mainstream audience anticipation has been noticeably high over the past decade as demand for a Hobbit film kicked in immediately following the massive commercial and critical success of the beloved Rings trilogy. While perhaps not a strict apples-to-apples comparison, the closest historical reference may be Star Wars and the pent-up demand for the prequels entering 1999.
- When it comes to widely popular franchises, time gaps between new installments are generally a big advantage (see Star Wars and Indiana Jones).
- With each film in the previous trilogy increasing in both opening and total grosses, Rings was one of the first (and still few) series to maintain and/or build upon its audience with every installment. That kind of popularity will translate to huge interest in this film.
- Opening on a Friday will be a big three-day opening weekend advantage in comparison to the films of the original trilogy (which all opened on Wednesdays). Given the greater distance from Christmas Day this time around, this may indicate the studio's confidence in being able to attain a big opening. The current December opening weekend record belongs to I Am Legend ($77.2 million). The Hobbit should have no trouble re-claiming that record (once set by all three Rings movies during their time).
- Though being close to Christmas can potentially reduce the potential of a massive opening, The Return of the King posted the 7th best opening weekend in history during 2003 despite burning off demand with its Wednesday release. The current 7th best all-time opening is New Moon's $142.8 million.
- 3D and IMAX should prove to be strong draws for this kind of film.
- The lack of directly competing family films in the market gives The Hobbit a clear path toward box office success as other studios have generally steered clear of the film with their post-Thanksgiving release slates.
- Holiday releases, including blockbusters, typically enjoy strong legs with or without big opening weekends during the holiday season.
- Warner Bros.' decision to only release the high-frame rate 3D prints in select markets should allow it to find enough of a test bed audience without having much effect on the overall gross in case audiences don't go for it.
- Having a "lighter" tone than the Rings series may help to increase its already strong appeal with families, particularly parents and younger children.
- Adjusted for inflation, The Fellowship of the Ring's original $313.4 million domestic run would equal $437 million today. Adding in 3D and IMAX price premiums, that would be roughly equal to over $490 million.
- Other ticket sales comparisons adjusted for inflation and 3D (where applicable): Indiana Jones and the Kingdom of the Crystal Skull ($400 million), The Chronicles of Narnia: The Lion, the Witch, & the Wardrobe ($409 million), Toy Story 3 ($418 million) and Harry Potter and the Sorcerer's Stone ($505 million). The Return of the King's $377 million gross in 2003 would adjust to roughly $550 million (including 3D) today.
- Like The Lord of the Rings, the original Hobbit novel is one of the best selling fictional books of the 20th century and is regarded highly among children's classics. In fact, the "prequel" term for the latter is a misnomer when considering The Hobbit was published 17 years before Rings.
- A gap of nine years between it and The Return of the King is considered as much of a disadvantage as an advantage by some, potentially having waited to long to capture the momentum from the first trilogy.
- Massive book sales aside, The Hobbit not having the same universal pedigree as The Lord of the Rings could equal a decrease in admissions. Could any added family appeal offset that?
- Jackson's decision to turn two films into three during the eleventh hour of production has caused an uproar in some online circles. Will that translate to forced story lines, or only serve to keep expectations very modest? In either case, it likely won't affect the upfront interest in the film but more so the legs and results of the second and third films in 2013/2014.
- The high-frame rate 3D was met with generally negative-to-mixed reactions at CinemaCon earlier this year. That said, the footage was incomplete and recent claims suggest the format may play better with extended scenes that have gone through post-production instead of fast-cut footage. In either case, the majority of audiences will only have access to standard 3D with this film anyway.
- Capturing lightning in a bottle with die-hard/online fans more than once can be tricky. Again, see the Star Wars prequels and the fourth Indiana Jones for evidence. Those, however, were still huge box office hits.
- Will it be able to bring in the same level of repeat admissions that The Lord of the Rings films (which enjoyed Oscar season bumps) did?
New Trailer: 'Side Effects' on November 02, 2012
Barco and DreamWorks Animation Forge Alliance to Bring Premium 3D Audio Experience to Theaters Worldwide on November 01, 2012
Kortrijk, Belgium -- Global digital cinema technology leader Barco, and the world's leading animation studio, DreamWorks Animation SKG, Inc. (Nasdaq: DWA), have formed an alliance in which DreamWorks Animation's next fifteen animated feature films will be mixed in the revolutionary Barco Auro 11.1 3D sound format for global distribution. The studio's ‘Rise of the Guardians', which comes to theaters on 21 November 2012, will be the first DreamWorks Animation movie featured in this new agreement.
"The premium 3D sound mix of DreamWorks Animation's ‘Rise of the Guardians' has successfully been completed, and we are thrilled with the studio's long-term endorsement of the Barco Auro 11.1 sound format," comments Wim Buyens, Senior Vice President of Barco's Entertainment Division. "Barco is truly committed to shaping the cinema of the future - not only are we developing the most advanced digital cinema projection technology, but we are also making critical advances in other technologies - such as cinema sound - to create a unique moviegoing experience for audiences worldwide. Thanks to our revolutionary technology, the cinema can remain the supreme entertainment center."
Multidimensional in-theater experience
"Barco is committed to sound innovation that creates a truly multidimensional in-theater experience, and we're very impressed with the ability of their 3D sound format to immerse audiences even more deeply into the amazing worlds created by our filmmakers," said Anne Globe, Chief Marketing Officer of DreamWorks Animation.
Placing aural objects around the auditorium
"What differentiates the Barco Auro 11.1 format from previous sound technologies is that it enables us to place aural objects around the auditorium to envelope the audience with the rich, acoustic spaces that we create virtually," added Jim Beshears, Head of Post Production at DreamWorks Animation.
Three distinct layers
The Barco Auro 11.1 3D sound system is built on a 3D audio technology suite from Auro Technologies that provides tools to create sound in three distinct layers: surround, height and overhead. "With Barco Auro 11.1, you can reproduce the subtle aspects of a film's soundtrack in ways that are more compatible with the workflows that content creators work with today," concludes Wilfried Van Baelen, CEO of Auro Technologies. "We look forward to working with other creative teams and studios within the industry to refine and enhance the toolsets necessary to create premium soundtracks at lower costs."