A pair of flicks that were shut out at the Oscars on Sunday lead the field for the erstwhile music network’s film nods. American Hustle and The Wolf Of Wall Street snagged eight noms apiece for the 23rd MTV Movie Awards. Close behind are The Hunger Games: Catching Fire with seven and We’re The Millers with six, including a coveted Best Shirtless Performance nom for Jennifer Aniston. Anchorman 2: The Legend Continues, Dallas Buyers Club, The Hobbit: The Desolation of Smaug, This Is The End and Best Picture champ 12 Years A Slave are next with four apiece. Conan O’Brien will serve as host of this year’s festivities, which air live on April 13 at the Nokia Theatre in L.A. The show — which last year switched from its longtime post-Memorial Day date to April — again relishes is such signature categories as Best Kiss, Best Scared-As-S**T Performance and #WTFMoment, The telecast is exec produced by Jesse Ignjatovic. Here are the nominees:
The best holds going into the Oscar weekend in the Top 20 at the box office are, as expected, those films nominated for Best Picture. There are two things that traditionally happen at the box office right before the …
The Oscar nominated best pictures still in the theaters are holding well the last weekend before the Academy Awards. Most are at the end or nearing the end of their runs. Those distributors who re-released their films or upped the number of theaters post-nomination did receive nice bumps to add to their overall cumes. This is the last weekend before the Academy Awards, so traditionally the Oscar-nominated films still in theaters usually see rock solid numbers as moviegoers venture out to see them before the show. Last year’s Oscars brought in 40.3M viewers. Here is how they all look to play out this weekend and their overall cumes based on Saturday morning estimates:
12). American Hustle (SONY), 903 theaters / 3-day cume: $1.8M / Total cume: $144M+ / Wk 11
14). The Wolf of Wall Street (PAR), 627 theaters / 3-day cume: $1.3M / Total cume: $112.8M / Wk 9
15). Philomena (TWC), theaters / 3-day cume: $1.2M / Total cume: $32.7M / Wk 14
17). Gravity (WB), 348 theaters / 3-day cume: $914K / Total cume: $269.3M / Wk 21
20). 12 Years a Slave (FSL), 349 theaters / 3-day cume: $493K / Total cume: $49M / Wk 19
Int’l Box Office: Wavering ‘Wolf’ Reports, ‘Lego’ Building Big Numbers, ‘RoboCop’ No. 1 In 15 Markets, ‘Endless Love’ Opens in 25 Markets and ‘Monuments Men’ in 19
7TH UPDATE, WEDNESDAY 5:50 PM: Most numbers for The Wolf Of Wall Street are now in, putting the overseas cume at $225.5M in 48 markets, according to Red Granite. That number was hard-fought this evening and we’ve spent several hours verifying it. Initally this weekend, Deadline was told the overseas cume was $175M, then we heard $225M, with a pit-stop at $212M. When we inquired as to the potential discrepancy of $50M or therabouts we were ultimately told that differences in reporting times were the culprit. In any case, Wolf openings this week included Taiwan with $988K, Ukraine with $346K and Hong Kong with a three-day take of $550K. Individual territories are updated below with local cumes.
6th UPDATE, TUESDAY 5:00 PM: A flurry of new grosses and big territories added below including Germany, Australia, Japan and Korea. Top five film grosses are available now in each market. All numbers updated, but The Wolf of Wall Street total cumes worldwide.
5th UPDATE, MONDAY, 2:25 PM: Updated grosses on The Lego Movie show that the Warner Bro. film, which is in playing in 42 markets, is higher than previously thought, raising the weekend take to $28.4M for a international cume of $52.3M in only two weeks of release. That means that the animated film is poised to pass the $200M mark worldwide in just a couple of days as the domestic cume is expected to rise to $143.7M after the U.S. Presidents Day holiday weekend. The Hobbit: The Desolation of Smaug has a total international cume of $604.2M. Adding in the domestic take of $256.2M and worldwide the second Hobbit picture has grossed $860.4M. The first in the trilogy, The Hobbit: An Unexpected Journey, grossed $714M in its international run, which amounted to 70% of its total worldwide cume of $1B. Smaug is on the same track, with 70% of its box office coming from international markets. It has yet to debut in two major territories: China and Japan. It will hit theaters in China on Feb. 21 and Japan on Feb. 28.
New grosses are added below and will be continually updated in the copy below as they come in throughout the afternoon and evening and into tomorrow.
“You must be sick of me by now — what the hell do you want to hear me say?” Leonardo DiCaprio laughed as we began a phone conversation late last week. He was joking, but it’s not an uncommon thing to hear an actor say that after they’ve been through the promotional ringer of an exhaustive awards season. He was in New York, where he had just participated in a retrospective of his work with Martin Scorsese (he did something similar the week before at the Santa Barbara Film Festival), and would be shortly heading to London for the BAFTA awards, where he was nominated for Best Actor (he lost to 12 Years A Slave‘s Chiwetel Ejiofor). But the fact is since early December and the first screenings of The Wolf Of Wall Street DiCaprio has been very visible — much more than the norm when he’s had a new movie to promote or an Oscar campaign to deal with.
But this one, for which he has already won a Golden Globe and Critics Choice Movie Award (both in comedy) is special to him. He not only stars in Wolf but also was a producer. He has received his fourth and fifth Oscar nominations as a result for the movie that is up for five Academy Awards including Best Picture and the fiercely competitive Best Actor category. He worked for six years to figure out a way to bring to the screen Jordan Belfort’s candid autobiography of his spectacular rise and fall on Wall Street. He wouldn’t give up until Martin Scorsese said yes to directing and until he was convinced they could make the movie their way. It became controversial but it also has now become Scorsese’s most successful movie ever.
DiCaprio previously did a detailed interview with my colleague Mike Fleming for Deadline, and he’s also encountered me a lot on the trail this season. But, with just two weeks to go until the Oscars, he’s still on that trail and very pleased — particularly for Scorsese’s box office milestone. “I am incredibly proud of that. I knew this movie would have to be framed in the right context for the public because, like I’ve said before, it’s punk rock, a major Hollywood epic about hedonism and debauchery and putting this culture up on screen. So I’ve been trying to support it as much as possible, in large part because I want to make movies that take chances like this. I want studios eventually to say ‘Hey, look at what Wolf Of Wall Street was able to do’. Maybe they’ll take a chance on this kind of material in the future even if it doesn’t fit the sort of criteria studios feel is bankable. I really hope if I bring something to a studio or want to develop it in a certain way they will use this as a reference point at the very least,” he said.
International Box Office: ‘Frozen’ Hits China, ‘47 Ronin’ To Pass $100M, ‘RoboCop’ No. 1 in 10 Markets
UPDATED Monday, 12:25 P.M.: Spain and Germany have been added and numbers updated. We will continue to add numbers as we receive them. The U.S. box office monster The Lego Movie updated grosses have been input.
PREVIOUSLY, Sunday, 11:28 A.M.: This weekend is down just about 8% off last year, an improvement off last week’s 25% drop in the comparable time frame. Walt Disney Studios’ Frozen pushed past the $900M worldwide mark this weekend to $913.7M. In China, it took in an estimated $13.7M since bowing on Wednesday amid a crowded Lunar New Year field. It is the biggest Disney Animation opening ever in China and the second biggest Disney/Pixar animated opening film there behind Monster’s University. Frozen’s international cume is now an estimated $545.1M. The Lego Movie, which did a whopping $69.1M domestically, debuted in 34 markets and raked in a strong $18.7M from 5,695 screens. It was notably constructive in Mexico, Spain, Brazil and Hong Kong where it nabbed the No. 1 spots. In Hong Kong, it ranked ahead of four local titles for the top spot and $1M. Meanwhile, Universal’s 47 Ronin becomes the distributors’ first picture to cross the $100M mark in 2014. It grossed another $4.5M in 39 territories this weekend in 2,184 locales. Its worldwide cume is nearing $138M with six territories yet to open over the next two months. DreamWorks Animation’s Mr. Peabody & Sherman traveled back to the past to score a real-time No. 1 in the UK where it bested new opener Robocop. Robocop, however, opened at No. 1 in 10 markets this weekend for an estimated cume to date of $28.7M ahead of its bow in 30 more territories this week, plus the U.S. on Wednesday. The Hobbit: The Desolation of Smaug has so far grossed $602.7M internationally to push its worldwide cume to $858M. Here are the key territory breakdowns for the above and other films this week:
Frozen opened in China on February 5, in the waning days of the Lunar New Year celebration that was packed with local pics. The Disney film earned an estimated $13.7M to make it the 2nd biggest Disney/Pixar animated bow ever. The last animated studio film to debut in the country was Universal’s Despicable Me 2 in early January which took $14.4M in its opening frame and now has over $49M. In Korea, Frozen dropped 32% from a weekend earlier for a new cume of $57.7M; it is the highest animated title ever in that territory.
‘Wolf Of Wall Street’s Leonardo DiCaprio & Jonah Hill Plan Re-Team In Story Of Richard Jewell; Labelled Hero, Then Falsely Vilified As Bomber At 1996 Atlanta Olympics
EXCLUSIVE: Fox has closed a deal to acquire rights to Marie Brenner’s 1997 Vanity Fair article “The Ballad Of Richard Jewell”, which will be developed for Jonah Hill to play the title subject. Jewell was the security guard who discovered a backpack in the Olympics compound in Atlanta in 1996. Initially hailed a hero for reporting the suspicious knapsack and then helping clear bystanders from the area before it exploded, Jewell was subsequently vilified just three days later as a potential suspect, his life and reputation torn apart in the advent of the 24 hour news cycle. Leonardo DiCaprio will play a lawyer Jewell knew casually, a Southern attorney who mostly did real estate closings and seemed in over his head, but he guided Jewell through a hellish Twilight Zone that went on even after the FBI officially cleared Jewell’s name three months later.
Brenner, whose VF article was the original source material for the Michael Mann-directed tobacco whistle-blower tale The Insider, accompanied Jewell and his attorney just as it finally became clear he had nothing to do with placing the bomb. The film will be produced by Appian Way’s DiCaprio and Jennifer Davisson Killoran, Hill and Kevin Misher, the latter of whom brought in the article. Misher Films’ Andy Berman will also have a producing role. Mike Ireland is overseeing for Fox.
This comes as both DiCaprio and Hill are up for Oscars for Best Picture nominee The Wolf Of Wall Street. It is particularly a strong role for Hill, who continues his remarkable transition from comic actor to serious roles that started with an Oscar-nominated turn in Moneyball and continues with the Rupert Goold-directed True Story, in which Hill plays Michael Finkel, a disgraced journalist who got the chance at redemption when a suspected killer (James Franco) took Finkel’s name, and would only talk to that journalist. That project is also at Fox, with New Regency.
‘The Wolf Of Wall Street’ Hits $100M, $225M Worldwide; ‘Lone Survivor’ Next To Pass $100M; ‘Frozen’ Skates Past $350M
The Wolf Of Wall Street crossed the $100M mark last night as the Oscar-nominated film continues its ride into the middle of Awards season. Added to its international cume, the Martin Scorsese romp has taken in $225M …
Tuesday night at the WGA West’s annual Beyond Words panel, ten WGA Awards-nominated scribes assembled to talk screenwriting and commiserate over the scripting challenges faced on eight very different films. A common theme of the night was distilling fiction from real life, as in Terence Winter‘s The Wolf of Wall Street, David O. Russell and Eric Warren Singer’s American Hustle, Billy Ray‘s Captain Phillips, and Melisa Wallack and Craig Borten’s Dallas Buyers Club. Nebraska writer Bob Nelson‘s advice seemed to ring true with more than a few: “The best thing to do as a screenwriter,” he declared, “is to pillage your family mercilessly.” Nelson modeled Bruce Dern‘s cranky Midwestern senior citizen Woody after his own father, and June Squibb‘s domineering character after his mother-in-law. “When my brother saw the movie he said, ‘That wasn’t writing – that was dictation.’”
Tracy Letts, who adapted his own Pulitzer Prize-winning play August: Osage County for the screen, echoed that sentiment. The contentious matriarch Violet, played by Meryl Streep in the film in an Oscar-nominated performance, sprung from Letts’ own memories of his grandmother. “She was a really monstrous figure in my mind,” he said. “When I started to write this I wasn’t looking to find a way to sympathize with her, necessarily, but I was trying to find a way to humanize her. .. what I found to my delight and surprise and horror was that she was your mother, too, and she’s everybody’s mother.”
“Jordan (Belfort) was very much based on my grandmother,” joked Winter, who recalled the task of filtering the real life Wall Street swindler into a protagonist that could win over the audience before revealing his true colors. “We have the most unreliable narrator in history and that’s basically license to tell the story in any manner that character sees fit. I wanted Jordan to sell us his story,” he said.
‘Wolf Of Wall Street’ Producers Send Second Cease & Desist To Former UK PM’s Sister-In-Law Over Blog Posts Alleging Corruption
EXCLUSIVE: The legal war of words over where the money to make The Wolf Of Wall Street came from has just heated up again. Late last week, lawyers for financiers Red Granite and principals Riza Aziz and Joey McFarland sent another dense cease and desist letter to UK-based blogger Clare Rewcastle Brown and her Sarawak Report over her alleged “recent unlawful and outrageous activities in violation of our clients’ rights, including your persistent fabrication and dissemination of false information about our clients and their business.” As of yet, no official legal action has been taken against Brown over her numerous posts about Red Granite, where its money comes from, and who its investors really are. Still, in a 7-page letter (read it here) sent Friday, Red Granite attorney Sunny Brenner of Santa Monica firm Loeb & Loeb says: “Make no mistake: Our clients will not hesitate to take whatever steps they deem necessary or appropriate to safeguard their rights and protect their reputations, and your time to take the necessary corrective action is rapidly running out.”
Brown, sister-in-law of former UK PM Gordon Brown, told me today from the UK that she has no intention of pulling down her posts, which have been published over the past month. “I believe the substance of my articles are correct and much of what I have printed is drawn from already published material in the United States,” she said. “If there are any unintentional inaccuracies, I am always willing to address and correct and indeed apologize for them. However, the pages of blanket and contradictory criticisms from Mr. Aziz’s lawyers only have one objective, which is to threaten and intimidate me into withdrawing my articles in their entirety. This I have no intention of doing.”
Red Granite was first announced in 2011 with a Kanye West concert and a big Cannes party. The producers behind Friends With Kids and Out Of The Furnace provided all of the approximate $100 million budget for the Martin Scorsese-directed Wolf. After winning the Lead Actor in a Comedy/Musical at the Golden Globes, Leonardo DiCaprio singled out producers Aziz and McFarland with thanks “for not only being collaborators but for taking a risk on this movie.”
International Box Office UPDATED: ‘Frozen’ Crosses $800M Worldwide; ‘I, Frankenstein’ Strong In Russia; Battle Underway In China For No. 1
UPDATED, MONDAY 3:55 PM: International numbers are flowing in and will be updated as they arrive in the below market by market breakouts. The Wolf Of Wall Street continues to show its teeth, grossing $17.4M in …
The Thanksgiving and Christmas holidays were flooded with films. Many of those pictures opened to less than stellar numbers in the U.S. and are all but forgotten as box office reporting goes onto the new openers. But, some of those holiday films are doing well overseas, and worth noting like the Fox marketed/distributed The Secret Life Of Walter Mitty which has grossed $161.2M worldwide to date. So, I’m compiling a few of the more interesting holiday openers just to revisit where they are in their worldwide runs. This is not to say that they are profitable films, only to note that their total worldwide cumes are rather surprising. Mitty and Walking With Dinosaurs are but two of these films. Mitty opened at Christmas and has grossed a total U.S. of $55.7M to date but has received roughly 66% of its entire box office from international markets with $106.2M. Meanwhile, the kid-friendly dinosaur film that got stuck in the sludge in the domestic marketplace when it opened on December 20, Walking With Dinosaurs at $106M has grossed roughly 67% of its worldwide cume overseas with $72.2M for a worldwide total (as of last Sunday). The overseas figure is more than double Dinosaurs domestic box office to date of $34.4M.
UPDATE: International Box Office: ‘Wolf Of Wall Street’ Overseas Cume Nears $75M Led By France; ’12 Years A Slave’ Rises In UK; ’47 Ronin’ Crosses $25M In Russia; More
UPDATE: WEDNESDAY 3:58 PM: I’ve earlier reported strong international numbers for The Wolf Of Wall Street based on the several territories where Universal is handling the film with all No. 1s across the board. But this is a movie that also has a lot of independent distributors around the world. Wolf backer Red Granite now has chimed in with its latest figure for the ex-U.S. cume, including Universal’s patch, and it’s an impressive $74.7M from 52 territories (for those keeping score, that’s 1,245 times what Jonah Hill says his payday was for the film). Domestic, the movie is at about $91M and notably, Wolf‘s strongest overseas market to date by far is France. It’s released there by the Hadida brothers’ Metropolitan Filmexport. The French take according to the latest numbers I have is $21.17M. Although it opened on Christmas Day in France, it has taken more than half of its 2.4M admissions in 2014 and had a drop of only 12% in its 4th week that ended January 21. In the UK, the movie took an impressive $7.5M in its opening this past weekend; there it’s rated 18 which is basically an NC-17, and in France, where the ratings board tends to take sex scenes with less issue, it’s rated so that anyone over 12 can be admitted. That’s a lot of Leonardo DiCaprio fans. There’s for sure heat on this movie given the controversies surrounding it, but as I’m often told — and as I have experienced over 20 years here — a director’s name means a helluva a lot, and coupled with a major star, in a country of cinephiles like France it’s not surprising that they are lapping up this latest. Outside France and the strong Universal territories noted below, The Wolf Of Wall Street is also hot in Belgium ($2.49M) Holland ($3.56M) and Poland ($3.58M) as of the latest figures.
UPDATE, WEDNESDAY 9:51 AM PT: With Universal’s final figures in for The Wolf Of Wall Street overseas this past weekend, the international cume from its territories is now $28.5M. Actuals were a touch off in the UK ($7.5M vs an estimated $7.6M), but higher than expected in Germany, Spain, Austria and German-speaking Switerland. In other Universal news, 47 Ronin has been having a strong run in Russia despite its underperformance elsewhere. In its 3rd frame there this weekend, the film placed No. 3 and broke the $25M barrier. Fox’s The Secret Life Of Walter Mitty also had a better than previously estimated weekend, with an international cume to date of $106.2M. And the heavily Oscar-nominated 12 Years A Slave added $7.62M for an international take of $23.92M and a worldwide haul of $64.2M. It’s currently playing in 21 international markets with Belgium and France opening today. The first 2 PM showing in Paris this afternoon sold 2,400 tickets on 32 screens, outperforming Hayao Miyazaki’s Oscar-nominated The Wind Rises and Stallone/De Niro vehicle Grudge Match. The Martin Luther King holiday slowed the release of some final international weekend figures, but numbers have been updated as they’ve come in below:
Years ago when working at the trades, one of the most popular features we did was The Horse’s Mouth, where we collected comments and unusual conversations that we had with people across the film and TV industries and shared them with our readers. We also found some Separated at Births (see below). In a town full of remakes and sequels, we have our own. We hope you enjoy these. We’ll never tell, but you know who you are:
Journalist: Do you know the best way to reach John Hughes?
Deadline: Yes, I would try Theresa Caputo, the Long Island Medium.
Studio exec: If you want a relationship with me, you’re going to have to print everything I say.
Deadline: How can a movie like The Wolf Of Wall Street get an R rating with all the sexual content? I mean, you see a woman going down on a guy while she gets rammed from behind by another guy.
Industry analyst: Well … was the guys’ penis erect or flaccid?
Commenter on Deadline: You think nobody outside of LA or NY is interested in sex or seeing a candle shoved up Leonardo DiCaprio’s ass? … Get some class.
Producer: I can’t believe I was nominated for an Oscar.
Producer: Because I’ve produced such tons of sh*t.
Reporter: Is that the real [budget] number?
Studio exec: What can I tell you? I work for maniacs.
Separated at Birth?
Irving Rosenfeld Len Grossman
William Harper Fast Eddie Felson
In this week’s podcast, Deadline International Editor Nancy Tartaglione talks with host David Bloom about which overseas titles survived the largest-ever field of candidates to nab an Oscar nomination for Best Foreign Language Film, and one notable director who was left out once again; the flood of announcements that are finally bringing this year’s Berlin Film Festival into focus, including the latest film by Richard Linklater; and red-hot director Justin Lin’s new Chinese-language, 3D blockbuster of a remake.
They also take their weekly look at the global box office, marked this time around by one of Walter Mitty’s biggest dreams, or at least that of his producers; Jack Ryan’s Chinese debut; and The Wolf of Wall Street, set loose in Europe’s box offices.