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yup, im def gonna need these dudes vs. Luke & his daughter in VIII. midas whale throw Finn into the mix too
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yup, im def gonna need these dudes vs. Luke & his daughter in VIII. midas whale throw Finn into the mix too
^Posted a few pages ago but still funny.
Looks like I'm going to have to get this bad boy too lolSHF Mace is up for Pre Order if you don't wanna wait and pay double once US stores get him in.
http://www.anime-export.com/product/29540
What does that have to do with my post?Sorry, but you're wrong. Lucas used EU info in the prequels.
And stop dropping stupid *** quotes.
Wow I literally never said this.I'm merely telling Zik his belief that Lucas ignored, or disproved of the EU is stupid, and ill informed.
Now you're outright lying about my stance This couldn't be more wrong. I'm on record of saying I enjoyed the Rebels cartoon and the clone wars stuff (granted I never did get to watch all). So how exactly have I been dismissing that?Zik thinks everything should be credited to Lucas, and dismisses any other outside input or influences.
At this point of reading all of your consecutive posts addressing me about something I never said I gotta assume you're confused with who said what.But you right Zik, he'd completely ignore it altogether.
Nah, there's somebody appointed in charge of quality control and then they hire authors to write the books.or once someone gets the okay can they just write anything?
how did the EU work? did lucas films have to approve it or could anyone just write fan fiction and join in on the EU?
You can't be serious.
Of course Lucasfilm had to approve it. You get sued otherwise man.
or does lucas film have to approve all the plot points?
Lucas probably had a loose awareness of what they did and had the power to just void it if he ever read any.
If he stuck to his original plans and did his sequel trilogy I'm pretty sure he'd just ignore the EU altogether.
No. I am not.You're just spinning everything now after I showed Lucas had used it plenty.
I've just argued you're petty incessant and constant need to tear down Lucas any time the PT comes up. The disrespect and hatred is crazy.And you've said multiple times how everything belongs only to the creator, and you back his word/vision over anything else.
We've argued that multiple times.
I don't care if he did.But I showed you how he himself uses others' ideas for his work.
It's pretty clear you're desperate to have the EU be adapted in to movies. So much so you think that's already happening.at tailspin and all that. I get why they wiped the slate clean. And I also get (after just a single film) how they'll still pick and choose pieces they want to use. Which is perfectly acceptable. I don't have to reintegrate anything, they're doing it for me. Me guessing on Rey is just that, me guessing. I have said, multiple times, she could be Luke's, I just don't think they'll go full layup, I think they'll try to "surprise" us again like other parts of the film.
I did.Nah, there's somebody appointed in charge of quality control and then they hire authors to write the books.or once someone gets the okay can they just write anything?how did the EU work? did lucas films have to approve it or could anyone just write fan fiction and join in on the EU?
You can't be serious.
Of course Lucasfilm had to approve it. You get sued otherwise man.
or does lucas film have to approve all the plot points?
Lucas probably had a loose awareness of what they did and had the power to just void it if he ever read any.
If he stuck to his original plans and did his sequel trilogy I'm pretty sure he'd just ignore the EU altogether.
Who wrote this post then? Who?
Pretty much.Ok man, whatever you say.
It's official: J.J. Abrams' Star Wars: The Force Awakens is the No. 1 grossing film of all time in North America, not accounting for inflation.
On Wednesday, the Disney and Lucasfilm mega-blockbuster is overtaking the $760.5 million earned by James Cameron's Avatar. Force Awakens — which grossed $8 million on Tuesday for a domestic total of $758.2 million — achieved the milestone in only 20 days in release, a remarkable feat.
Released in December 2009, Avatar grossed nearly $750 million in its original, seven-month run, plus another $10 million-plus when it was rereleased in theaters.
Thanks to Force Awakens, domestic revenue for 2015 was able to hit a record $11 billion at the last minute.
Globally, Force Awakens has a long way to go before eclipsing the $2.78 billion earned worldwide by Avatar, even as it does staggering business. Through Tuesday, its worldwide tally is $1.56 billion, and that doesn't include China, where Force Awakens lands on Jan. 9.
Overseas on Tuesday, Force Awakens earned $13 million for a foreign tally of $799.1 million.
Many box office observers suggest the Star Wars reboot will ultimately gross $2.2 billion to $2.4 billion worldwide, passing up Cameron's Titanic ($2.19 billion) to become the No. 2 film of all time, not accounting for inflation. Already, it's the No. 4 title.
Only two film have earned $700 million or more in North America; Avatar and Force Awakens.
Pretty much.Ok man, whatever you say.
All you saw in that post was "ignore the EU" and ironically ignored "If he stuck to his original plans" part Keep in mind his original plans existed before the EU existed.
yup, im def gonna need these dudes vs. Luke & his daughter in VIII. midas whale throw Finn into the mix too
View media item 1857727
Star Wars: The Force Awakens earned another $8 million yesterday, basically dead even with Monday’s $8m gross. This brings its domestic total to $758.2m and puts it within $2.5m of Avatar‘s all-time domestic grosses record, which means said record will fall sometime today, possibly as early as by the time you finish reading this post. So pop the champagne and unleash the balloons, Star Wars: The Force Awakens is now the highest-grossing movie of all time in America. Impressive, most impressive, and this will indeed be a day long-remembered.
For the first time in 18 years, James Cameron does have not have title to himself. And for the first time in 40 years, James Cameron, George Lucas, or Steven Spielberg does not hold claim to said record. Although considering that Abrams was basically a student of Spielberg and Cameron and was inspired to be a filmmaker after seeing Star Wars, you might argue that “the circle is complete.” So where does it go from here?
If the film does (total spit balling here), another $14 million on Wednesday and Thursday and another over/under $50m weekend (the current record holder for the biggest fourth weekend is Avatar‘s $50m frame four), then it ends its 24th day with around $820m domestic. That means it will not just top Avatar‘s actual domestic gross today, but it will surpass, early in its fourth weekend, the $777 million”adjusted-for-inflation” gross of Star Wars Episode One: The Phantom Menace from way back in 1999 (and of course its 2012 3D reissue). It should also become the first film to gross $800m in America sometime on Saturday, give or take the variables.
For those asking, the adjusted-for-inflation gross of Avatar is $836 million, which The Force Awakens will eventually surpass perhaps towards the end of next week. Where it goes from here is an open question, but a domestic total of over $938m puts it past Snow White and the Seven Dwarfs to make it among the top-ten biggest “tickets sold” hits of all time in American theaters.
Obviously worldwide is an entirely different question, as it will probably have to settle for being the third or second-biggest global hit of all time, behind Cameron’s Titanic ($2.186 billion) and Cameron’s Avatar ($2.788b). The film has earned a whopping $1.557b worldwide thus far, including $799m overseas alone. Avatar is a presumably unreachable plateau at this point, as the film has thus-far been doing around 48/52 US/overseas business. So if it ends at around $2b worldwide without China, it would have to do an insane $788m in China alone (starting on Saturday), nearly double the current high for an American title (Furious 7 with $394m). Quite simply, we have no idea how well the film will play in what is the second-biggest theatrical market, as Star Wars has always been something of an American phenom. Apples to oranges of course, but I don’t exactly expect Monster Hunt to break any domestic box office records when it finally hits theaters on January 22nd. Of note, I’m absolutely dying to see that one.
Before we sign out for the day, a moment of acknowledgement that this record-breaking domestic run wasn’t anything resembling a foregone conclusion. Had the film not really delivered in an audio/visual and character-centric fashion, and had Walt Disney not done their marketing magic to make Star Wars not just an event again but a defining movie event even in a world filled with Star Wars-like blockbuster franchises, we wouldn’t be having this specific conversation. Oh sure, the film was always going to be a big hit, especially with that December release date, but a $247.8 million opening weekend and an over/under $900m domestic total means that the movie worked beyond the hardcore fans and beyond the opening weekend hype. The film delivered, the marketing made it a must-see event, and everything clicked into place.
Star Wars: The Force Awakens has been in American theaters for just 20 days, and J.J. Abrams, Walt Disney, and Lucasfilm have returned the series to the top of the box office mountain. They have created and marketed one of the most “seen in theaters” hits of all time in an era when movie theaters are no longer at the top of the entertainment food chain and movies no longer dominate the water cooler conversation. They have gotten countless older fans back on board after decades of indifference or discontent while hooking younger fans along for the ride. They have changed the conversation about what kind of actors and what kind of characters can headline said event films while proving that you can make a monster hit out of a known entity without spoiling the movie before its release date. Next time, I still dare them to do better.
The other comments in this thread aren't wrong, BUT in most cases this is established by the distribution contract.
There are typically 3 branches to film production:
The production company/studio pays to create the product (the film)
The distributor pays to put that product in theaters, VOD, BluRay, etc.
The exhibition branch (theaters, netflix, iTunes, etc) displays the film to the public.
Now, in many cases, distribution for a large budget studio film will already be established before production even begins. Sometimes the studio even doubles as the distributor. In the cases of more independent films they rely on festivals which are used to entice distributors to see the marketable value in a product and broker a deal to get it out to the masses. Distribution deals will vary in terms of amount of time in cinemas, on demand, and usually come with an expiry date for hard copy (DVD and BluRay) distribution, where if the contract is for 5 years hard copy the distributor can make as many discs in that time as they want but must stop making them after that time, at which point the production branch can broker another distribution deal - this is why you get "collector's editions" and "special editions" of the same film every few years.
But theatrical length is a real toss-up depending on the film and initial distributor.
Source - I'm currently brokering distribution on my second feature-length doc.
It varies based on how big the theatre is and how well the movie does in that area. For example, the nearest theatre to me is very small, so movies that do not do well may only be there for a week or two. If a movie does good it might remain there for a month. To compare, there is a much larger theatre further away. In the larger theatre, movies that do not perform well in that are may be in for 4 weeks or so, while movies that do really good may be in the larger theatre for month and a half, maybe longer. So really it varies based on location performance.
Theaters in big cities well sometimes keep popular movies around for a very long time. This is due to the fact that the theater's share of each ticket price goes up as time goes by. For the major blockbusters a theater share the first week will often be only 10% of ticket price. As weeks go by a theater's share will keep rising so it makes sense to just move a movie to small screens but keep it around. The Hunger Games films and Divergent seemed to stay for an eternity. Some art films stay a long time even though the theater's share is much higher at the start. The art films that stay the longest seem to be women's films, films of books (the three girl with Swedish films for example), and films by some famous directors like Woody Allen.