درآمد فیلمها، معمولاً از راههای فروش در گیشه، انتشار نسخهٔ خانگی فیلمها و فروش حق پخش تلویزیونی بهدست میآیند. اما میزان فروش در گیشه، به دلیل دارا بودن سهم عمده، ارزیابی میزان موفقیت فیلم با آن و این که در مقایسه با آمار فروش نسخه خانگی و درآمد از حق پخش تلویزیونی دسترسی به آن آسانتر است، بیشتر مورد توجه قرار میگیرد.
بهطور سنتی، فیلمهای جنگی، موزیکالها و درامهای تاریخی، ژانرهای محبوب بودهاند، اما در قرن ۲۱ میلادی، فیلمهای مجموعهای محبوبترین بودهاند. تمامی فیلمهای هری پاتر و سری فیلمهای سرزمین میانهٔ پیتر جکسون در فهرست پرفروشترینها قرار دارند و فیلمهای دزدان دریایی کارائیب و مجموعهٔ تبدیلشوندگان نیز در آن حضور دارند. همچنین ژانر ابرقهرمانی محبوبیت ویژهای بین مخاطبان دارد: بتمن و سوپرمن از شرکت دیسی و فیلمهای مارول مانند مرد عنکبوتی و مردان اکس و فیلمهای دنیای سینمایی مارول فروش خوبی داشتهاند. تنها فیلمهایی که در ۱۰ فیلم پرفروش قرار دارند و اقتباس، دنباله یا بازسازی نیستند، آواتار و تایتانیک میباشند که هردوی آنها را جیمز کامرون نوشته و کارگردانی کردهاست. فیلمهای پویانمایی نیز معمولاً نمایش خوبی در گیشه داشتهاند. پویانماییهایی مانند منجمد (پرفروشترین پویانمایی تاریخ) و شیرشاه از دیزنی و داستان اسباببازی و در جستجوی نمو از پیکسار پرفروشترین پویانماییها بودهاند. مجموعههای شرک، عصر یخبندان، ماداگاسکار و من نفرتانگیز از دیگر پویانماییهای موفق بودهاند.
با وجود این که تورم، موفقیت برخی مجموعه فیلمها در دهههای ۶۰ و ۷۰ میلادی را کمرنگ کردهاست، هنوز مجموعههای از آن زمان وجود دارند که ادامه یافتهاند و فیلمهایشان هنوز ساخته میشود. فیلمهای مجوعههای سوپرمن، جیمز باند و پیشتازان فضا به صورت دورهای هنوز هم منتشر میشوند.
در این بین نقش تورم و گرانی بلیطها کمرنگ نیست. بهطور مثال بر باد رفته که ۲۵ سال پرفروشترین فیلم تاریخ بود، هماکنون در فهرست پرفروشترینها حتی بین ۵۰ فیلم اول هم قرار ندارد. اما با احتساب نرخ تورم، این فیلم همچنان یکی از پرفروشترین فیلمهای تاریخ است.
اولین و دومین فیلمهای پرفروش جهان، هر دو به نویسندگی و کارگردانی جیمز کامرون بودهاست.
با فروش بیش از ۲٫۸ میلیارد دلار، آواتار پرفروشترین فیلم تاریخ است. البته این مبلغ فقط شامل فروش فیلم در سالنهای سینما میباشد و فروش دیویدیها و بخش سینمای خانگی در آن محاسبه نشدهاست که همین بخش، گاهی بیشتر موفقیت مالی فیلمها را شکل میدهد. اگر اطلاعات فروش دیویدیها و سینمای خانگی محاسبه شوند، دیگر واضح نیست کدام فیلم پرفروشترین بودهاست. تایتانیک ۱٫۲ میلیارد دلار فروش ویدئو و دیویدی داشته و ۲٫۲ میلیارد دلار در سینماها فروخته. اطلاعات فروش سینمای خانگی آواتار هنوز به صورت کامل در دسترس نیست. آواتار جمعاً ۱۶ میلیون دیویدی و بلو-ری در آمریکای شمالی فروخت و ۳۴۵ میلیون دلار کسب شد. در همین حال ۳۰ میلیون نسخه از دیویدی و دیسک بلو-ری آن در دیگر نقاط جهان به فروش رفت. با محاسبهٔ فروش سینمای خانگی، هر دو فیلم جمعاً ۳ میلیارد دلار فروش داشتهاند. پخش تلویزیونی هم به درآمد فیلم اضافه میشود. هر فیلم معمولاً با پخش شدن از چندین شبکه مختلف، حدود ۲۰ تا ۲۵ درصد فروش سینماییاش نصیبش میشود.تایتانیک برای پخش شدن از شبکههای انبیسی و اچبیاو حدود ۵۵ میلیون دلار به دست آورد، که تقریباً معادل ۹٪ فروشش در آمریکای شمالی است.
وقتی یک فیلم دارای خاصیت بهرهبرداری بسیاری بالایی داشته باشد، فروش سینمایی آن میتواند در مقابل درآمدهای فرعی آن کم به نظر برسد.شیرشاه حدود ۲ میلیارد دلار در گیشه و سینمای خانگی فروخت، اما اقتباسهای نمایشی از آن در سرتاسر جهان ۶ میلیارد دلار فروش داشت. فروش کالاهای مرتبط با فیلم هم میتواند تأثیر گذار باشد: شیرشاه از این راه ۳ میلیارد دلار درآمد داشتهاست، و ماشینها که فروش جهانی آن ۴۶۲ میلیون دلار بود و در مقایسه با دیگر فیلمهای پیکسار فروش پایینتری داشتهاست، در پنج سال ابتدایی بعد انتشار فیلم در سال ۲۰۰۶، ۸ میلیارد دلار از راه فروش کالاهای مرتبط با آن به دست آورد.داستان اسباببازی ۳ که فیلم دیگری از استودیوی پیکسار است، در کنار فروش ۱ میلیاردیاش در گیشه، ۱۰ میلیون دلار از راه فروش کالا کسب کرد.
در این جدول، فیلمها بر اساس فروششان در گیشه رتبهبندی شدهاند و بهترین رتبهشان در این جدول نیز آورده شدهاست.
این فیلم تا تاریخ ۱۹ ژانویه ۲۰۱۸ روی پرده بودهاست.
↑Vogel, Harold L. (2010). Entertainment Industry Economics: A Guide for Financial Analysis. Cambridge University Press. p. 224. ISBN978-1-107-00309-5. Most pictures would likely receive 20% to 25% of theatrical box office gross for two prime-time network runs.
nb. the exact euro to dollar conversion rate is unknown for earnings since April 2014, but the euro never fell below parity with the dollar during 2014 and 2015 (as can be verified by comparing the exchange rate on the individual date entries at the provided reference) so an approximate conversion rate of €1:$1 is used here to give a lower-bound.
As of 2010: Block & Wilson 2010, pp. 756–757. "Production Cost: $70.0 (Unadjusted $s in Millions of $s) … Jurassic Park was a smash at the box office, bringing in $920 million in worldwide box office and spawning two sequels."
↑ ۴۶٫۰۴۶٫۱Krämer, Peter (1999). "Women First: Titanic, Action-Aventure Films, and Hollywood's Female Audience". In Sandler, Kevin S.; Studlar, Gaylyn. Titanic: Anatomy of a Blockbuster. Rutgers University Press. pp. 108–131. ISBN978-0-8135-2669-0. p. 130: The list has Jurassic Park at number one with $913 million, followed by The Lion King...
Original release (excluding 2009 IMAX reissue): "The Dark Knight". The Numbers. Nash Information Services. Archived from the original on February 8, 2009. Retrieved October 28, 2012. North America: $531,039,412 (as of January 22, 2009); Overseas: $466,000,000; IMAX re-release: January 23, 2009
2009 IMAX re-release: "The Dark Knight Re-Release IMAX Locations". ComingSoon.net. CraveOnline. January 22, 2009. Retrieved October 28, 2012. IMAX Corporation and Warner Bros. Pictures today announced that the box office smash hit The Dark Knight, which has grossed more than $997 million at the worldwide box office since its release on July 18th, 2008, will return to IMAX® theatres for an encore presentation. Starting January 23rd, the film will open in 143 IMAX screens domestically, and 29 screens internationally.
First-run gross and IMAX reissue: Gray, Brandon (February 20, 2009). "Billion Dollar Batman". Box Office Mojo. Retrieved June 7, 2014. The Dark Knight had been hovering just shy of $1 billion for several months and reportedly sat at $997 million when Warner Bros. modestly relaunched it on Jan. 23, timed to take advantage of the announcement of the Academy Awards nominations on Jan. 22.
↑Monaco, James (2009). How to Read a Film:Movies, Media, and Beyond. Oxford Publishing. p. 262. ISBN978-0-19-975579-0. The Birth of a Nation, costing an unprecedented and, many believed, thoroughly foolhardy $110,000, eventually returned $20 million and more. The actual figure is hard to calculate because the film was distributed on a "states' rights" basis in which licenses to show the film were sold outright. The actual cash generated by The Birth of a Nation may have been as much as $50 million to $100 million, an almost inconceivable amount for such an early film.
↑Wasko, Janet (1986). "D.W. Griffiths and the banks: a case study in film financing". In Kerr, Paul. The Hollywood Film Industry: A Reader. Routledge. p. 34. ISBN978-0-7100-9730-9. Various accounts have cited $15 to $18 million profits during the first few years of release, while in a letter to a potential investor in the proposed sound version, Aitken noted that a $15 to $18 million box-office gross was a 'conservative estimate'. For years Variety has listed The Birth of a Nation's total rental at $50 million. (This reflects the total amount paid to the distributor, not box-office gross.) This 'trade legend' has finally been acknowledged by Variety as a 'whopper myth', and the amount has been revised to $5 million. That figure seems far more feasible, as reports of earnings in the Griffith collection list gross receipts for 1915–1919 at slightly more than $5.2 million (including foreign distribution) and total earnings after deducting general office expenses, but not royalties, at about $2 million.
Intolerance: "Domestic Rentals: $1.0 (Unadjusted $s in Millions of $s)."
Cleopatra: "Domestic Rentals: $0.5; Production Cost: $0.3 (Unadjusted $s in Millions of $s)."
↑Birchard, Robert S. (2010), Intolerance, p. 45, Intolerance was the most expensive American film made up until that point, costing a total of $489,653, and its performance at the box … but it did recoup its cost and end with respectable overall numbers. In: Block & Wilson 2010
↑Shipman, David (1970). The great movie stars: the golden years. Crown Publishing Group. p. 98. It was a low budgeter—$120,000—but it grossed world-wide over $3 million and made stars of Chaney and his fellow-players, Betty Compson and Thomas Meighan.
Way Down East: p. 52. "D.W. Griffith's Way Down East (1920) was projected to return rentals of $4,000,000 on an $800,000 negative. This figure was based on the amounts earned from its roadshow run, coupled with its playoff in the rest of the country's theaters. Griffith had originally placed the potential film rental at $3,000,000 but, because of the success of the various roadshows that were running the $4,000,000 total was expected. The film showed a profit of $615,736 after just 23 weeks of release on a gross of $2,179,613."
What Price Glory?: p. 112. "What Price Glory hit the jackpot with massive world rentals of $2,429,000, the highest figure in the history of the company. Since it was also the most expensive production of the year at $817,000 the profit was still a healthy $796,000..."
Cavalcade: p. 170. "The actual cost of Cavalcade was $1,116,000 and it was most definitely not guaranteed a success. In fact, if its foreign grosses followed the usual 40 percent of domestic returns, the film would have lost money. In a turnaround, the foreign gross was almost double the $1,000,000 domestic take to reach total world rentals of $3,000,000 and Fox's largest profit of the year at $664,000."
State Fair: p. 170. "State Fair did turn out to be a substantial hit with the help of Janet Gaynor boosting Will Rogers back to the level of money-making star. Its prestige engagements helped raked in a total $1,208,000 in domestic rentals. Surprisingly, in foreign countries unfamiliar with state fairs, it still earned a respectable $429,000. With its total rentals, the film ended up showing a $398,000 profit."
↑Hall & Neale 2010, p. 53. "The Four Forsemen of the Apocalypse was to become Metro's most expensive production and one of the decade's biggest box-office hits. Its production costs have been estimated at "something between $600,000 and $800,000." Variety estimated its worldwide gross at $4 million in 1925 and at $5 million in 1944; in 1991, it estimated its cumulative domestic rentals at $3,800,000."
↑Brownlow, Kevin (1968). The parade's gone by …. University of California Press. p. 255. ISBN978-0-520-03068-8. The negative cost was about $986,000, which did not include Fairbanks' own salary. Once the exploitation and release prints were taken into account, Robin Hood cost about $1,400,000—exceeding both Intolerance ($700,000) and the celebrated "million dollar movie" Foolish Wives. But it earned $2,500,000.
↑May, Richard P. (Fall 2005), "Restoring The Big Parade", The Moving Image5 (2): 140–146, ISSN1532-3978, doi:10.1353/mov.2005.0033, ...earning somewhere between $18 and $22 million, depending on the figures consulted
↑Hall & Neale 2010, pp. 58–59. "Even then, at a time when the budget for a feature averaged at around $300,000, no more than $382,000 was spent on production...According to the Eddie Mannix Ledger at MGM, it grossed $4,990,000 domestically and $1,141,000 abroad."
↑Hall & Neale 2010, p. 163. "MGM's silent Ben-Hur, which opened at the end of 1925, had out-grossed all the other pictures released by the company in 1926 combined. With worldwide rentals of $9,386,000 on first release it was, with the sole possible exception of The Birth of a Nation, the highest-earning film of the entire silent era. (At a negative cost of $3,967,000, it was also the most expensive.)"
Block, Hayley Taylor (2010), The Jazz Singer, p. 113, The film brought in $2.6 million in worldwide rentals and made a net profit of $1,196,750. Jolson's follow-up Warner Bros. film, The Singing Fool (1928), brought in over two times as much, with $5.9 in worldwide rentals and a profit of $3,649,000, making them two of the most profitable films in the 1920s. In: Block & Wilson 2010
The Singing Fool: p. 12. "Ego aside, Jolson was at the top of his powers in The Singing Fool. The $150,000 Warner Bros. paid him to make it, and the $388,000 it took to produce the film, were drops in the hat next to the film's world gross of $5.9 million. Its $3.8-million gross in this country set a box-office record that would not be surpassed until Walt Disney's Snow White and the Seven Dwarfs (1937)."
The Broadway Melody: p. 24. "The Broadway Melody with a negative cost of $379,000, grossed $2.8 million in the United States, $4.8 million worldwide, and made a recorded profit of $1.6 million for MGM."
Gold Diggers of Broadway: p. 58. "It grossed an impressive $2.5 million domestically and nearly $4 million worldwide."
Sunny Side Up: p. 10. "Sunny Side Up, a musical starring Janet Gaynor and Charles Farrell, showed domestic rentals of $3.5 million, a record for the company."
Forever Amber: p. 66. "On the surface, with world rentals of $8 million, Forever Amber was considered a hit at distribution level."
The French Connection
p. 167. "The Planet of the Apes motion pictures were all moneymakers and Zanuck's record would have immediately improved had he stayed through the release of The French Connection, which took in rentals of approximately $75 million worldwide."
↑Cormack, Mike (1993). Ideology and Cinematography in Hollywood, 1930–1939. Palgrave Macmillan. p. 28. ISBN978-0-312-10067-4. Although costing $1250000—a huge sum for any studio in 1929—the film was a financial success. Karl Thiede gives the domestic box-office at $1500000, and the same figure for the foreign gross.
Cavalcade: p. 182. "Produced by Winfield Sheehan at a cost of $1.25 million, Cavalcade won Academy Awards for best picture, director, art direction and grossed close to $4 million during its first release, much of which came from Great Britain and the Empire."
Whoopee: p. 212. "Produced by Sam Goldwyn at a cost of $1 million, the picture was an adaptation of a smash musical comedy built around Eddie Cantor...A personality-centered musical, Whoopee! made little attempt to integrate the comedy routines, songs, and story. نداردtheless, Cantor's feature-film debut grossed over $2.6 million worldwide and started a popular series that included Palmy Days (1931), The Kid from Spain (1932), and Roman Scandals (1933)."
Balio, Tino (1976). United Artists: The Company Built by the Stars. University of Wisconsin Press. p. 110. Hughes did not have the "Midas touch" the trade press so often attributed to him. Variety, for example, reported that Hell's Angels cost $3.2 million to make, and by July, 1931, eight months after its release, the production cost had nearly been paid off. Keats claimed the picture cost $4 million to make and that it earned twice that much within twenty years. The production cost estimate is probably correct. Hughes worked on the picture for over two years, shooting it first as a silent and then as a talkie. Lewis Milestone said that in between Hughes experimented with shooting it in color as well. But Variety's earnings report must be the fabrication of a delirious publicity agent, and Keats' the working of a myth maker. During the seven years it was in United Artists distribution, Hell's Angels grossed $1.6 million in the domestic market, of which Hughes' share was $1.2 million. Whatever the foreign gross was, it seems unlikely that it was great enough to earn a profit for the picture.
↑Block & Wilson 2010, p. 163. "It drew $1.4 million in worldwide rentals in its first run versus $1.2 million for Dracula, which had opened in February 1931."
↑Vance, Jeffrey (2003). Chaplin: genius of the cinema. Abrams Books. p. 208. Chaplin's negative cost for City Lights was $1,607,351. The film eventually earned him a worldwide profit of $5 million ($2 million domestically and $3 million in foreign distribution), an enormous sum of money for the time.
↑Ramsaye, Terry, ed. (1937). "The All-Time Best Sellers – Motion Pictures". International Motion Picture Almanac 1937–38 (New York: The Quigley Publishing Company): 942–943. Kid from Spain: $2,621,000 (data supplied by Eddie Cantor)
↑Finler 2003, p. 188. "The studio released its most profitable pictures of the decade in 1933, She Done Him Wrong and I'm No Angel, written by and starring Mae West. Produced at a rock-bottom cost of $200,000 each, they undoubtedly helped Paramount through the worst patch in its history..."
↑Block, Alex Ben (2010), She Done Him Wrong, p. 173, The worldwide rentals of over $3 million keep the lights on at Paramount, which did not shy away from selling the movie's sex appeal. In: Block & Wilson 2010
↑Phillips, Kendall R. (2008). Controversial Cinema: The Films That Outraged America. ABC-CLIO. p. 26. ISBN978-1-56720-724-8. The reaction to West's first major film, however, was not exclusively negative. Made for a mere $200,000, the film would rake in a healthy $2 million in the United States and an additional million in overseas markets.
The Merry Widow: p. 361 Cost: $1,605,000. Earnings: domestic $861,000; foreign $1,747,000; total $2,608,000. Loss: $113,000.
San Francisco: p. 364 Cost: $1,300,000. Earnings: domestic $2,868,000; foreign $2,405,000; total $5,273,000. Profit: $2,237,000. [Reissues in 1938–39 and 1948–49 brought profits of $124,000 and $647,000 respectively.]
↑McBride, Joseph (2011). Frank Capra: The Catastrophe of Success. University Press of Mississippi. p. 309. ISBN978-1-60473-838-4. According to the studio's books It Happened One Night brought in $1 million in film rentals during its initial release, but as Joe Walker pointed out, the figure would have been much larger if the film had not been sold to theaters on a block-booking basis in a package with more than two dozen lesser Columbia films, and the total rentals of the package spread among them all, as was customary in that era, since it minimized the risk and allowed the major studios to dominate the marketplace.
↑Dick, Bernard F. (2008). Claudette Colbert: She Walked in Beauty. University Press of Mississippi. p. 79. ISBN978-1-60473-087-6. Although Columbia's president, Harry Cohn, had strong reservations about It Happened One Night, he also knew that it would not bankrupt the studio; the rights were only $5,000, and the budget was set at $325,000, including the performers' salaries.
Monaco, Paul (2010). A History of American Movies: A Film-By-Film Look at the Art, Craft, and Business of Cinema. Scarecrow Press. p. 54. ISBN978-0-8108-7434-3. Considered a highly risky gamble when the movie was in production in the mid-1930s, by the fiftieth anniversary of its 1937 premiere Snow White's earnings exceeded $330 million.
Wilhelm, Henry Gilmer; Brower, Carol (1993). The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures. Preservation Pub. p. 359. ISBN978-0-911515-00-8. In only 2 months after the 1987 re-release, the film grossed another $45 million—giving it a total gross to date of about $375 million!
p. 207. "When the budget rose from $250,000 to $1,488,423 he even mortgaged his own home and automobile. Disney had bet more than his company on the success of Snow White."
p. 237. "By the end of 1938, it had grossed more than $8 million in worldwide rentals and was ranked at the time as the second-highest-grossing film after the 1925 epic Ben-Hur".
p. 255. "On its initial release Pinocchio brought in only $1.6 million in domestic rentals (compared with Snow White's $4.2 million) and $1.9 million in foreign rentals (compared with Snow White's $4.3 million)."
Boys Town: Block, Alex Ben (2010), Boys Town, p. 215, The film quickly became a smash nationwide, making a profit of over $2 million on worldwide rentals of $4 million. In: Block & Wilson 2010.
The Adventures of Robin Hood: Glancy, H. Mark (1995). "Warner Bros Film Grosses, 1921–51: the William Schaefer ledger". Historical Journal of Film, Radio and Television1 (15): 55–60. doi:10.1080/01439689500260031. $3.981 million.
Alexander's Ragtime Band: Block, Hayley Taylor (2010), Alexander's Ragtime Band, p. 213, Once the confusion cleared, however, the film blossomed into a commercial success, with a profit of $978,000 on worldwide rentals of $3.6 million. In: Block & Wilson 2010
↑Block & Wilson 2010, pp. 258–259. "Production Cost: $2.1 (Unadjusted $s in Millions of $s) … Boom Town was the biggest moneymaker of 1940 and one of the top films of the decade."
↑Block & Wilson 2010, p. 267. "With worldwide rentals of $7.8 million in its initial release, the movie made a net profit of over $3 million."
↑Finler 2003, p. 301. "The studio did particularly well with its war-related pictures, such as Sergeant York (1941), which cost $1.6 million but was the studio's biggest hit of the decade aside from This is the Army (1943), the Irving Berlin musical for which the profits were donated to the Army Emergency Relief fund."
Bambi: "Worldwide Box Office: $266.8; Production Cost: $1.7 (Millions of $s)"
101 Dalmatians: "Worldwide Box Office: $215.0; Production Cost: $3.6 (Millions of $s)"
The Jungle Book: "Worldwide Box Office: $170.8"; Production Cost: $3.9 (Millions of $s)"
Aladdin: "Worldwide Box Office: $505.1"; Production Cost: $28.0 (Millions of $s)"
↑Glancy, Mark (1999). When Hollywood Loved Britain: The Hollywood 'British' Film 1939–1945. Manchester University Press. pp. 94–95. ISBN978-0-7190-4853-1. Mrs Miniver was a phenomenon. It was the most popular film of the year (from any studio) in both North America and Britain, and its foreign earnings were three times higher than those of any other MGM film released in the 1941–42 season. The production cost ($1,344,000) was one of the highest of the season, indicating the studio never thought of the film as a potential loss-maker. When the film earned a worldwide gross of $8,878,000, MGM had the highest profit ($4,831,000) in its history. Random Harvest nearly matched the success of Mrs Miniver with worldwide earnings of $8,147,000 yielding the second-highest profit in MGM's history ($4,384,000). Random Harvest was also the most popular film of the year in Britain, where it proved to be even more popular than Britain's most acclaimed war film, In Which We Serve.
Mrs. Miniver: Burns, Douglas (2010), Mrs. Miniver, p. 279, Mrs. Miniver's galvanizing effect on Americans spawned a record-breaking ten-week run at Radio City Music Hall and garnered a $5.4 million take in domestic rentals (making Mrs. Miniver 1942's top grosser), with a $4.8 million profit on worldwide rentals of $8.9 million.
Yankee Doodle Dandy: p. 275. "It became the second biggest box-office hit of 1942 (after Mrs. Miniver) and was praised by critics, making a profit of $3.4 million on worldwide rentals of $6.5 million."
↑McAdams, Frank (2010), For Whom the Bell Tolls, p. 287, Despite the early furor over the novel being “pro-red and immoral,” the film opened to strong and favorable reviews and brought in $11 million in worldwide rentals in its initial release. In: Block & Wilson 2010
↑ ۱۵۱٫۰۱۵۱٫۱"A Guy Named Joe (1944) – Notes". Turner Classic Movies. Retrieved August 29, 2012. According to M-G-M studio records at the AMPAS Library, the film had a negative cost of $2,627,000 and took in $5,363,000 at the box office. When the picture was re-issued for the 1955–56 season, it took in an additional $150,000.
↑Schaefer, Eric (1999). "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959. Duke University Press. pp. 197–199. ISBN978-0-8223-2374-7. Leading the pack of postwar sex hygiene films was Mom and Dad (1944), which would become not only the most successful sex hygiene film in history but the biggest pre-1960 exploitation film of any kind. At the end of 1947, the Los Angeles Times reported that Mom and Dad had grossed $2 million. By 1949 Time had estimated that Mom and Dad had taken in $8 million from twenty million moviegoers. And publicity issuing from Mom and Dad's production company indicated that by the end of 1956 it had grossed over $80 million worldwide. Net rentals of around $22 million by 1956 would easily place it in the top ten films of the late 1940s and early 1950s had it appeared on conventional lists. Some estimates have placed its total gross over the years at up to $100 million, and it was still playing drive-in dates into 1975...The film was made for around $65,000 with a crew of Hollywood veterans including director William "One Shot" Beaudine, cinematographer Marcel LePicard, and a cast that sported old stalwarts Hardie Albright, Francis Ford, and John Hamilton.
p. 296. "Production Cost: $1.6 (Unadjusted $s in Millions of $s)"
Wasson, Sam (2010), The Bells of St. Mary's, p. 297, This was that rare sequel that did even better at the box office than the original, bringing in a $3.7 million profit on $11.2 million in worldwide rentals.
p. 132."Best Years was considerably cheaper, costing only $2.1 million, and therefore vastly more profitable."
p. 286 (note 6.70). "Worldwide rentals for The Best Years of Our Lives amounted to $14,750,000."
↑Burns, Douglas (2010), The Best years of Our Lives, p. 301, The film made a $5 million profit on worldwide rentals of $14.8 million. In: Block & Wilson 2010
↑ ۱۶۴٫۰۱۶۴٫۱Hall & Neale 2010, p. 285 (note 6.56). "The cost of Duel in the Sun has been reported as both $5,255,000 (Haver, David O'Selznick's Hollywood, 361) and $6,480,000 (Thomson, Showman: The Life of David O'Selznick, 472); the latter figure may include distribution expenses. Forever Amber cost $6,375,000 (Solomon, Twentieth Century-Fox: A Corporate and Financial History, 243)."
↑Chopra-Gant, Mike (2006). Hollywood Genres and Post-war America: Masculinity, Family and Nation in Popular Movies and Film Noir. I.B. Tauris. p. 18. ISBN978-1-85043-815-1. Forever Amber: $8 million; Unconquered: $7.5 million; Life with Father: $6.25 million
↑Street, Sarah (2002). Transatlantic Crossings: British Feature Films in the United States. Continuum International Publishing Group. p. 110. ISBN978-0-8264-1395-6. Although both films had higher than average budgets (The Red Shoes cost £505,581 and Hamlet cost £572,530, while the average cost of the other thirty films for which Rank supplied information was £233,000), they resulted in high takings at home and abroad.
Samson and Delilah: "...the film became the highest grosser in the studio's history to date, with domestic rentals of $7,976,730 by 1955 and a further $6,232,520 overseas...For all their spectacle, Samson and David were quite economically produced, costing $3,097,563 and $2,170,000 respectively."
Quo Vadis: "Production costs totaled a record $7,623,000...Worldwide rentals totaled $21,037,000, almost half of which came from the foreign market."
↑Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. Oxford University Press. p. 401. ISBN978-0-19-516729-0. It cost around $2.2 million, little more than each of the two package features, Melody Time and The Adventures of Ichabod and Mr. Toad (as Tluo Fabulous Characters had ultimately been named), that just preceded it, but its gross rentals—an amount shared by Disney and RKO—were $7.8 million, almost twice as much as the two package features combined.
Quo Vadis: p. 15. "MGM's most expensive film of the period, Quo Vadis (1951) also did extremely well. The cost was $7,623,000, earnings were an estimated $21.2 million (with foreign earnings almost 50 percent of this total), and profit was estimated at $5,562,000."
Rear Window: pp. 203–204. "Rear Window (1954) was an excellent commercial success, with a cost of $1 million and North American rentals of $5.3 million."
The Robe: "Domestic Rentals: $16.7; Foreign Rentals: $9.4; Production Cost: $4.1 (Unadjusted $s in Millions of $s)."
Quo Vadis: "Domestic Rentals: $11.1; Foreign Rentals: $15.6; Production Cost: $7.5 (Unadjusted $s in Millions of $s)."
↑Mulligan, Hugh A. (September 23, 1956). "Cinerama Pushing Ahead As Biggest Money-Maker". The Register-Guard (Eugene, Oregon). p. 7B.|accessdate= requires |url= (help)
↑Zone, Ray (2012). 3-D Revolution: The History of Modern Stereoscopic Cinema. University Press of Kentucky. p. 71. ISBN978-0-8131-3611-0. Produced at a cost of $1 million, This is Cinerama ran 122 weeks, earning $4.7 million in its initial New York run alone and eventually grossed over $32 million. It was obvious to Hollywood that the public was ready for a new form of motion picture entertainment. The first five Cinerama feature-length travelogues, though they only played in twenty-two theaters, pulled in a combined gross of $82 million.
↑Burns, Douglas (2010), The Greatest Show on Earth, pp. 354–355, By May 1953, Variety was reporting that the Best Picture winner had amassed $18.35 million in worldwide rentals. In: Block & Wilson 2010
↑Hall & Neale 2010, p. 147–148. "To take full advantage of CinemaScope's panoramic possibilities, shooting was delayed for the sets to be redesigned and rebuilt, adding $500,000 to the eventual $4.1 million budget...It ultimately returned domestic rentals of $17.5 million and $25 million worldwide, placing it second only to Gone with the Wind in Variety's annually updated chart."
↑Block & Wilson 2010, p. 367. "It brought in $16.7 million in domestic rentals, $9.4 million in foreign rentals, and made a net profit of $8.1 million."
↑Finler 2003, p. 320. "It was up and running in time to handle Disney's most elaborate expensive feature, 20,000 Leagues Under the Sea, based on the book by Jules Verne, starring James Mason and Kirk Douglas and directed by Richard Fleischer at a cost of $4.5 million."
p. 382. "Production Cost: $2.4 (Unadjusted $s in Millions of $s)"
Burns, Douglas (2010), Mister Roberts, p. 383, Mister Roberts sailed onto movie screens buoyed by enthusiastic reviews and receptive audiences. For pr, Fonda, Cagney, and lemmon reenacted several scenes on ed sullivan's popular Toast of the Town television variety show. It returned a net profit of $4.5 million on worldwide rentals of $9.9 million, putting it in the top 5 domestic films of 1955.
↑Block & Wilson 2010, p. 327. "Production cost: $13.3 million; Domestic Film Rental: $31.3; Foreign Film Rental: $23.9; Worldwide Box office (estimated): $122.7 (Initial Release – Unadjusted $s in Millions of $s)."
The Ten Commandments: "No film did more to entrench roadshow policy than The Ten Commandments. While the success of This Is Cinerama, The Robe, and even Eighty Days could be attributed, at least in part, to their respective photographic and projection formats, that of DeMille's film (which cost a record $13,266,491) could not...General release began at normal prices in 1959 and continued until the end of the following year, when the film was temporarily withdrawn (the first of several reissues came in 1966). The worldwide rental by this time was around $60 million. In the domestic market it dislodged Gone with the Wind from the number one position on Variety's list of All-Time Rentals Champs. GWTW had hitherto maintained its lead through several reissues (and was soon to regain it through another in 1961)."
The Bridge on the River Kwai: Columbia's Anglo-American war film The Bridge on the River Kwai (1957) opened on a roadshow basis in selected U.S. cities (including New York, Chicago, Boston, and Los Angeles) and in London. Costing only $2,840,000 to produce, it grossed $30.6 million worldwide on first release."
↑Hall & Neale 2010, p. 153. "South Pacific also became for a time the most successful film ever released in the United Kingdom, where it earned a box-office gross three times its negative cost of $5,610,000. Anticipated global rentals after three years were $30 million."
↑Ross, Steven J. (2011). Hollywood Left and Right: How Movie Stars Shaped American Politics. Oxford University Press. pp. 278–279. ISBN978-0-19-991143-1. Costing $15 million to produce, the film earned $47 million by the end of 1961 and $90 million worldwide by January 1989.
↑Block & Wilson 2010, p. 324. "Worldwide box office: $146.9 million; Worldwide rentals: $66.1 million; Production cost: $15.9 million. (Initial Release – Unadjusted $s in Millions of $s)"
↑Reid, John Howard (2006). America's Best, Britain's Finest: A Survey of Mixed Movies. Volume 14 of Hollywood classics. Lulu. p. 243–245. ISBN978-1-4116-7877-4. Negative cost: around $4 million; Worldwide film rentals gross (including 1968 American reissue) to 1970: $30 million.
↑Webster, Patrick (2010). Love and Death in Kubrick: A Critical Study of the Films from Lolita Through Eyes Wide Shut. McFarland & Company. pp. 298 (note 2.23). ISBN978-0-7864-5916-2. Spartacus cost $12 million and grossed some $60 million at the box office, figures Kubrick rarely again matched.
Spartacus: "In the case of Spartacus, overseas earnings to 1969 amounted to $12,462,044, while U.S. and Canadian rentals (even including a million-dollar TV sale) were only $10,643,181. But the film failed to show a profit on production costs of $10,284,014 because of the distribution charges and expenses amounting to an additional $15,308,083."
The Bible: "The Bible—In the Beginning... (1966) was financed by the Italian producer Dino De Laurentiis from private investors and Swiss banks. He then sold distribution rights outside Italy jointly to Fox and Seven Arts for $15 million (70 percent of which came from Fox), thereby recouping the bulk of his $18 million investment. Although The Bible returned a respectable world rental of $25.3 million, Fox was still left with a net loss of just over $1.5 million. It was the last biblical epic to be released by any major Hollywood studio for nearly twenty years."
Lawrence of Arabia: Columbia released the $13.8 million Lawrence of Arabia (1962), filmed in Super Panavision 70, exclusively on a hard-ticket basis, but opened Barabbas (1962), The Cardinal (1963), and the $12 million Joseph Conrad adaptation Lord Jim (1965) as 70mm roadshows in selected territories only."
The Longest Day: "Darryl's most ambitious independent production was The Longest Day (1962), a three-hour reconstruction of D-Day filmed in black-and-white CinemaScope at a cost of $8 million. It grossed over $30 million worldwide as a roadshow followed by general release, thereby helping the studio regain stability during its period of reorganization."
Cleopatra: "With top tickets set at an all-time high of $5.50,Cleopatra had amassed as much as $20 million in such guarantees from exhibitors even before its premiere. Fox claimed the film had cost in total $44 million, of which $31,115,000 represented the direct negative cost and the rest distribution, print and advertising expenses. (These figures excluded the more than $5 million spent on the production's abortive British shoot in 1960–61, prior to its relocation to Italy.) By 1966 worldwide rentals had reached $38,042,000 including $23.5 million from the United States."
↑Hall & Neale 2010, p. 164. "West cost $14,483,000; although it earned $35 million worldwide in just under three years, with ultimate domestic rentals totaling $20,932,883, high distribution costs severely limited its profitability."
From Russia With Love: "The American release of From Russia With Love again followed on some six months after it had been shown in Britain. North American rentals of $9.9 million were an improvement on its predecessor, helped by a slightly wider release, though they were still only half the $19.5 million of foreign rentals... (Online copy at Google Books)"
Diamonds Are Forever: "Diamonds Are Forever marked a return to the box-office heights of the Bond films of the mid-1960s. Its worldwide rentals were $45.7 million... (Online copy at Google Books)"
Moonraker: "These figures were surpassed by Moonraker, which earned total worldwide rentals of $87.7 million, of which $33 million came from North America. (Online copy at Google Books)"
My Fair Lady: "My Fair Lady (1964) cost Warners $17 million to make, including a record $5.5 million just for the film rights to the Alan Jay Lerner and Frederick Loewe stage show and a million-dollar fee for star Audrey Hepburn. By 1967 it was reported to have grossed $55 million from roadshowing worldwide."
Mary Poppins: "Mary Poppins (1964), which cost $5.2 million, was neither a stage adaptation nor a roadshow. But by the end of its first release, it had grossed nearly $50 million worldwide."
↑Burns, Douglas (2010), Mary Poppins, p. 469, In its initial run, Poppins garnered an astounding $44 million in worldwide rentals and became the company's first Best Picture Oscar contender. In: Block & Wilson 2010
↑Hall & Neale 2010, p. 188. "The negative cost of Warners' adaptation of Edward Albee's play Who's Afraid of Virginia Woolf? (1966)—filmed in widescreen and black-and-white, largely set in domestic interiors and with a cast of only four principal actors—amounted to $7,613,000, in part because stars Elizabeth Taylor and Richard Burton received up-front fees of $1 million and $750,000 respectively, against 10 percent of the gross apiece. (Their participation was presumably added to the budget)."
The Graduate: "The Graduate eventually earned U.S. rentals of $44,090,729 on a production cost of $3.1 million to become the most lucrative non-roadshow picture (and independent release) to date."
Butch Cassidy and the Sundance Kid: "ندارد of these films was roadshown in the United States; most were set in contemporary America or had a contemporary "take" on the past (the casting of genuine teenagers to play Romeo and Juliet, the urbane sophistication of the dialogue in Butch Cassidy, the antiauthoritarianism of Bonnie and Clyde and MASH); most were produced on modest or medium-sized budgets (as low as $450,000 for Easy Rider and no higher than $6,825,000 for Butch Cassidy); and all grossed upward of $10 million domestically."
↑Palmer, R. Barton (2006). "2001: The Critical Reception and the Generation Gap". In Kolker, Robert Phillip. Stanley Kubrick's 2001: a Space Odyssey: New Essays. Oxford University Press. p. 16. ISBN978-0-19-517452-6. With its initial and subsequent releases, domestic and worldwide, Kubrick's arty, intellectual film earned nearly $138 million, which was, at that time, an astounding figure.
↑Welles, Chris (September 7, 1970). "Behind the Silence at Columbia Pictures—No Moguls, No Minions, Just Profits". New York (magazine)3 (36) (New York Media). pp. 42–47. While Columbia, battling Ray Stark over every dollar, did Funny Girl for around $8.8 million, a million or so over budget, Fox spent nearly $24 million on Hello, Dolly!, more than twice the initial budget, and the film will thus have to gross three times as much to break even.
Outside North America: Vanity Fair (magazine) (577–578). 2008. p. 388. Butch Cassidy went on to be a huge hit—by the spring of 1970 it had taken in $46 million in North America and grossed another $50 million abroad.
↑"'Love Story' II: Ryan Redux?". New York (magazine)9 (New York Media). 1976. p. 389. Bring those handkerchiefs out of retirement. … After all, the first movie made around $80 million worldwide.
↑Block & Wilson 2010, p. 541. "Screenwriter and director George Seaton was given a then-whopping production budget of $10 million to make what would be his last big movie after a long career as an actor in radio, a screenwriter, and a director."
↑Block & Wilson 2010, p. 549. "Fiddler had the highest domestic box office of 1971 (it was second in worldwide box office after Diamonds Are Forever), with more than $100 million in unadjusted worldwide box office on its initial release. The soundtrack album was also a huge seller. The 1979 rerelease was not as successful, with the $3.8 million print and ad costs almost as high as the $4.3 million in worldwide rentals."
1974: Newsweek84 (19–27). 1974. p. 74. The original Godfather has grossed a mind-boggling $285 million...
1991: Von Gunden, Kenneth (1991). Postmodern auteurs: Coppola, Lucas, De Palma, Spielberg, and Scorsese. McFarland & Company. p. 36. ISBN978-0-89950-618-0. Since The Godfather had earned over $85 million in U.S. -Canada rentals (the worldwide box-office gross was $285 million), a sequel, according to the usual formula, could be expected to earn approximately two-thirds of the original's box-office take (ultimately Godfather II had rentals of $30 million).
↑Jacobs, Diane (1980). Hollywood Renaissance. Dell Publishing. p. 115. ISBN978-0-440-53382-5. The Godfather catapulted Coppola to overnight celebrity, earning three Academy Awards and a then record-breaking $142 million in worldwide sales.
↑Stanley, Robert Henry; Steinberg, Charles Side (1976). The media environment: mass communications in American society. Hastings House. p. 76. ISBN978-0-8038-4681-4. ...further reflected by the phenomenal successes of The Sting, Chinatown and The Exorcist. The latter film, which cost about $10 million to produce, has grossed over $110 million worldwide.
↑Hall & Neale 2010, pp. 206–208. "The most successful entry in the disaster cycle was the $15 million The Towering Inferno which earned over $48,650,000 in domestic rentals and about $40 million foreign."
↑Brooks, Mel (2004). "My Movies: The Collisions of Art and Money". In Squire, Jason E. The movie business book (3 ed.). Simon & Schuster. ISBN978-0-7432-1937-2. To their credit, Blazing saddles, opened wide in June to tremendous business around the country. It's done over $80 million in rentals worldwide in 1974 dollars. (Online copy at Google Books)
↑Priggé, Steven (2004). Movie Moguls Speak: Interviews With Top Film Producers. McFarland & Company. p. 8. ISBN978-0-7864-1929-6. The budget for the first Jaws was $4 million and the picture wound up costing $9 million.
↑Hall & Neale 2010, p. 214. "Rocky was the "sleeper of the decade". Produced by UA and costing just under $1 million, it went on to earn a box-office gross of $117,235,247 in the United States and $225 million worldwide."
↑Block, Alex Ben (2010), Rocky, p. 583, The budget was $1,075,000 plus producer's fees of $100,000. In: Block & Wilson 2010
↑Hofler, Robert (2010). Party Animals: A Hollywood Tale of Sex, Drugs, and Rock 'N' Roll Starring the Fabulous Allan Carr. ReadHowYouWant.com. p. 145. ISBN978-1-4596-0007-2. Despite the fact that Grease was well on its way to becoming the highest-grossing movie musical in the world, and eventually grossed over $341 million...
United & Babson Investment Report72. Babson-United, Inc. 1980. p. 262. Columbia Pictures Industries is continuing to rake in the box office dollars from its Oscar-winning Kramer vs. Kramer, which has topped $100 million in domestic grosses and $70 million overseas. Kramer, which cost less than $8 million to make, is now the second...
Prince, Stephen (2002). A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980–1989. University of California Press. p. 7. ISBN978-0-520-23266-2. Much of this was attributable to the performance of its hit film, Kramer vs. Kramer ($94 million worldwide and the number two film in the domestic market).
↑Block & Wilson 2010, p. 609. "Steven Spielberg, by far the most successful director of the decade, had the highest-grossing movie with 1982's E.T. : The Extra-Terrestrial, which grossed over $664 million in worldwide box office on initial release."
↑Finler 2003, p. 268. "The studio had a record operating income of $212 million in 1982, the year of Spielberg's E.T. The Extra-Terrestrial (which had cost only slightly over $10 million) and $150 million in 1985, mainly due to another Spielberg production, the $22 million Back to the Future, which became the top box office hit of the year."
↑McAdams, Frank (2010), Top Gun, pp. 678–679, Production Cost: $19.0 (Millions of $s) … Despite mixed reviews, it played in the top 10 for an extended period and was a huge hit, grossing almost $345 million in worldwide box office. In: Block & Wilson 2010
Scott, Vernon (June 15, 1990). "'Three Men and Baby' Sequel Adds Cazenove to Original Cast". The Daily Gazette (New York). Hollywood (UPI). p. 9 (TV Plus – The Daily Gazette Supplement). That legacy is the $167,780,960 domestic box-office and $75 million foreign gross achieved by the original...