Dyma restr o ffilmiau sydd wedi gwneud yr elw (crynswth) mwyaf.
Ffeithiau sydyn Enghraifft o'r canlynol ...
Rhestr ffilmiau â'r elw mwyaf
Daliodd Gone with the Wind y record am y ffilm mwyaf proffidiol am ddau-ddeg-pump mlynedd, ac ar ôl addasu ar gyfer chwyddiant, mae wedi creu mwy o elw nag unrhyw ffilm arall erioed.
Enghraifft o'rcanlynol
erthygl sydd hefyd yn rhestr
Cau
Mae ffilmiau'n cynhyrchu incwm o sawl ffrwd refeniw, gan gynnwys arddangosfa theatrig, fideo cartref, hawliau darlledu teledu, a marchnata. Fodd bynnag, enillion swyddfa docynnau theatrig yw'r prif fetrig ar gyfer cyhoeddiadau masnach wrth asesu llwyddiant ffilm, yn bennaf oherwydd argaeledd y data o'i gymharu â ffigurau gwerthu ar gyfer fideo cartref a hawliau darlledu, ond hefyd oherwydd arfer hanesyddol. Ar y rhestr mae siartiau o enillwyr uchaf y swyddfa docynnau (wedi'u rhestru yn ôl gwerth enwol a gwir werth eu refeniw). Mae hefyd siart o ffilmiau â chrynswth mwyaf yn ôl blwyddyn galendr, llinell amser sy'n dangos trawsnewidiad y record ffilm â'r cyfanswm mwyaf, a siart o'r masnachfreintiau a'r cyfresi ffilm â'r crynswth mwyaf. Mae'r holl siartiau'n cael eu rhestru yn ôl perfformiad swyddfa docynnau theatraidd ryngwladol lle bo modd, heb gynnwys incwm sy'n deillio o fideo cartref, hawliau darlledu, a nwyddau.
Yn draddodiadol, ffilmiau rhyfel, sioeau cerdd, a dramâu hanesyddol fu'r genres mwyaf poblogaidd, ond mae ffilmiau masnachfraint wedi bod ymhlith perfformwyr gorau'r 21ain ganrif. Mae diddordeb mawr yn y genre archarwyr, gyda deg ffilm yn y Bydysawd Sinematig Marvel yn ymddangos ymhlith yr enillwyr enwol. Y ffilm archarwr fwyaf llwyddiannus, Avengers: Endgame, hefyd yw'r ail ffilm â'r cynnydd mwyaf ar y "siart enillion enwol", ac mae pedair ffilm i gyd yn seiliedig ar y llyfrau comig Avengers sy'n rhestru yn yr ugain uchaf. Mae addasiadau Marvel Comics eraill hefyd wedi cael llwyddiant gyda'r eiddo Spider-Man ac X-Men, tra bod ffilmiau sy'n seiliedig ar Batman a Superman o DC Comics wedi perfformio'n dda ar y cyfan. Cynrychiolir Star Wars hefyd yn y "siart enillion enwol" gyda phum ffilm, tra bod masnachfreintiau Harry Potter, Jurassic Park a Pirates of the Caribbean yn cael lle amlwg. Er bod y "siart enillion enwol" yn cael ei ddominyddu gan ffilmiau wedi'u haddasu o briodweddau a dilyniannau sy'n bodoli eisoes, Avatar sydd ar y brig, sef ffilm wreiddiol. Mae ffilmiau teulu animeiddiedig wedi perfformio'n gyson o dda, gyda ffilmiau Disney yn mwynhau ail-rhyddhau proffidiol cyn yr oes fideo cartref. Mwynhaodd Disney lwyddiant diweddarach hefyd gyda ffilmiau fel Frozen I a II, Zootopia, a The Lion King ( gyda'i ail-wneud wedi'i animeiddio â chyfrifiadur fel y ffilm animeiddiedig â'r cynnydd mwyaf), yn ogystal â'i frand Pixar, y mae Incredibles 2 ohono, Toy Story 3 a 4, a Finding Dory fu'r perfformwyr gorau. Y tu hwnt i animeiddiadau Disney a Pixar, mae'r gyfres Despicable Me, Shrek, ac Ice Age wedi cael y llwyddiant mwyaf.
Er bod chwyddiant wedi erydu cyflawniadau'r rhan fwyaf o ffilmiau o'r 1950au, 1960au, a'r 1970au, mae masnachfreintiau sy'n tarddu o'r cyfnod hwnnw sy'n dal i fod yn weithredol. Heblaw am fasnachfreintiau Star Wars a Superman, mae ffilmiau James Bond a Godzilla yn dal i gael eu rhyddhau o bryd i'w gilydd; mae pob un o'r pedwar ymhlith y masnachfreintiau â'r cynnydd mwyaf. Mae rhai o'r ffilmiau hŷn a ddaliodd y record o ran ffilmiau â'r enillion uchaf yn dal i fod â chrynswth parchus yn ôl safonau heddiw, ond nid ydynt bellach yn cystadlu'n rhifiadol yn erbyn enillwyr heddiw mewn cyfnod o brisiau tocynnau unigol llawer uwch. Pan gaiff y prisiau hynny eu haddasu ar gyfer chwyddiant, fodd bynnag, yna Gone with the Wind —sef y ffilm â’r cynnydd mwyaf yn llwyr ers pum mlynedd ar hugain—yw’r ffilm â’r cynnydd mwyaf erioed o hyd. Mynegir yr holl grosiau ar y rhestr mewn doleri'r UD yn ôl eu gwerth enwol, ac eithrio lle nodir yn wahanol.
Ysgrifennwyd a chyfarwyddwyd Avatar, y ffilm â'r crynswth mwyaf, gan James Cameron.
Gyda chrynswth swyddfa docynnau fyd-eang o dros $2.9biliwn, mae Avatar yn cael ei gyhoeddi fel y ffilm "crynswth uchaf", ond mae hawliadau o'r fath fel arfer yn cyfeirio at refeniw theatrig yn unig ac nid ydynt yn ystyried incwm fideo a theledu cartref, a all ffurfio cyfran sylweddol o enillion ffilm. Unwaith y bydd refeniw o adloniant cartref wedi'i gynnwys, nid yw'n glir ar unwaith pa ffilm yw'r mwyaf llwyddiannus. Enillodd Titanic $1.2biliwn o werthiannau a rhenti fideo a DVD, yn ychwanegol at y $2.2biliwn wedi'i grosio mewn theatrau. Er nad oes data gwerthiant cyflawn ar gael ar gyfer Avatar, enillodd $345miliwn o werthiant un ar bymthegmiliwn o unedau DVD a Blu-ray yng Ngogledd America,[1] ac yn y pen draw gwerthwyd cyfanswm o ddeg ar hugainmiliwn o unedau DVD a Blu-ray ledled y byd.[2] Ar ôl cyfrif am incwm fideo cartref, mae'r ddwy ffilm wedi ennill dros $3biliwn yr un. Bydd hawliau darlledu teledu hefyd yn ychwanegu'n sylweddol at enillion ffilm, gyda ffilm yn aml yn ennill cymaint ag 20–25% o'i swyddfa docynnau theatrig am ychydig o rediadau teledu ar ben refeniw talu-wrth- wylio;[3] Enillodd Titanic $55 arallmiliwn o hawliau darlledu NBC a HBO,sy'n cyfateb i tua 9% o'i gros Gogledd America.
Pan fo ffilm yn fasnachol iawn, gall ei refeniw ategol (e.e tegannau, sioeau gerdd) fod llawer mwy na refeniw o werthiannau y ffilm ei hun.[4]Er enghraifft, enillodd y Lion King (1994) dros $2biliwn mewn gwerthiannau swyddfa docynnau a fideos cartref, ond $8biliwn a enillwyd mewn swyddfeydd tocynnau ledled y byd gan yr addasiad llwyfan.[5] Gall marchnata fod yn hynod broffidiol hefyd: gwerthodd y Lion King $3biliwn o nwyddau,[6] ond enillodd Cars werthiannau nwyddau byd-eang o dros $8biliwn yn y pum mlynedd ar ôl ei ryddhau yn 2006.[7][8] Dim ond $462miliwn mewn enillodd Cars drwy refeniw theatrig, mewn cymhariaeth.[9]
Cafodd Pixar ergyd enfawr arall gyda Toy Story 3, a gynhyrchodd bron i $10biliwn mewn gwerthiannau manwerthu nwyddau yn ychwanegol at y $1biliwn a enillwyd yn y swyddfa docynnau.[10]
Ar y siart hwn, mae ffilmiau'n cael eu rhestru yn ôl y refeniw o arddangosfa theatrig yn ôl eu gwerth enwol, ynghyd â'r swyddi uchaf a gyrhaeddwyd ganddynt. Mae cyfanswm o bum ffilm wedi creu cyfanswm o fwy na $2biliwn ledled y byd, gydag Avatar yn y safle uchaf. Mae pob un o'r ffilmiau wedi cael rhediad theatrig (gan gynnwys ail-rhyddhau) yn yr 21ain ganrif. Nid yw ffilmiau nad tu hwnt i'r cyfnod hwn yn ymddangos ar y siart oherwydd nad yw chwyddiant pris tocyn, maint y boblogaeth a thueddiadau prynu tocynnau yn cael eu hystyried.
Mae cyfraddau chwyddiant ledled y byd yn amrywio, gan gymhlethu addasiad chwyddiant.
Oherwydd effeithiau hirdymor chwyddiant, yn arbennig y cynnydd sylweddol mewn prisiau tocynnau theatr ffilm, mae'r rhestr heb ei haddasu ar gyfer chwyddiant yn rhoi llawer mwy o bwysau i ffilmiau diweddarach.[11] Mae’r rhestr heb ei haddasu, er ei bod yn gyffredin yn y wasg, felly’n ddiystyr i raddau helaeth ar gyfer cymharu ffilmiau sydd wedi’u gwahanu’n eang mewn amser, gan na fydd llawer o ffilmiau o gyfnodau cynharach byth yn ymddangos ar restr fodern heb ei haddasu, er gwaethaf cyflawni llwyddiant masnachol uwch pan gânt eu haddasu ar gyfer cynnydd mewn prisiau.[12] I wneud iawn am ostyngiad yng ngwerth yr arian cyfred, mae rhai siartiau'n gwneud addasiadau ar gyfer chwyddiant, ond nid yw hyd yn oed yr arfer hwn yn mynd i'r afael yn llawn â'r mater, gan nad yw prisiau tocynnau a chwyddiant o reidrwydd yn gyfochrog â'i gilydd. Er enghraifft, ym 1970, costiodd tocynnau $1.55 neu tua $6.68 mewn doleri 2004 a addaswyd gan chwyddiant; erbyn 1980, roedd prisiau wedi codi i tua $2.69, gostyngiad i $5.50 mewn doleri 2004 a addaswyd gan chwyddiant. Mae prisiau tocynnau hefyd wedi codi ar wahanol gyfraddau chwyddiant ledled y byd, gan gymhlethu ymhellach y broses o addasu grosiau ledled y byd.[11]
Cymhlethdod arall yw rhyddhau mewn fformatau lluosog y codir prisiau tocynnau gwahanol amdanynt. Un enghraifft nodedig o'r ffenomen hon yw Avatar, a ryddhawyd hefyd mewn 3D ac IMAX: roedd bron i ddwy ran o dair o'r tocynnau ar gyfer y ffilm honno ar gyfer dangosiadau 3D gyda phris cyfartalog o $10, ac roedd tua un rhan o chwech ar gyfer dangosiadau IMAX gyda chyfartaledd pris dros $14.50, o'i gymharu â phris cyfartalog 2010 o $7.61 ar gyfer ffilmiau 2D.[13] Mae ffactorau cymdeithasol ac economaidd megis newid yn y boblogaeth[14] a thwf marchnadoedd rhyngwladol[15][16][17] hefyd yn cael effaith ar nifer y bobl sy'n prynu tocynnau theatr, ynghyd â demograffeg y gynulleidfa lle mae rhai ffilmiau'n gwerthu llawer uwch. cyfran y tocynnau plant am bris gostyngol, neu berfformio'n well mewn dinasoedd mawr lle mae tocynnau'n costio mwy.[12]
Mae'r system fesur ar gyfer mesur llwyddiant ffilm yn seiliedig ar grosiau heb eu haddasu, yn bennaf oherwydd yn hanesyddol dyma'r ffordd y mae wedi'i wneud erioed oherwydd arferion y diwydiant ffilm: mae derbynebau'r swyddfa docynnau yn cael eu casglu gan theatrau a'u trosglwyddo i'r dosbarthwr, sydd yn ei dro yn eu rhyddhau i'r cyfryngau.[18] Mae trosi i system fwy cynrychioliadol sy'n cyfrif gwerthiant tocynnau yn hytrach na gros hefyd yn llawn problemau oherwydd yr unig ddata sydd ar gael ar gyfer ffilmiau hŷn yw'r cyfansymiau gwerthiant.[14] Gan fod y diwydiant lluniau cynnig yn canolbwyntio'n fawr ar farchnata ffilmiau a ryddhawyd ar hyn o bryd, mae ffigurau heb eu haddasu bob amser yn cael eu defnyddio mewn ymgyrchoedd marchnata fel y gall ffilmiau mawr newydd gyflawni safle gwerthiant uchel yn llawer haws, a thrwy hynny gael eu hyrwyddo fel "ffilm orau erioed", [19] felly nid oes llawer o gymhelliant i newid i ddadansoddiad mwy cadarn o safbwynt marchnata neu hyd yn oed sy'n werth newyddion.[18]
Er gwaethaf yr anawsterau cynhenid wrth gyfrif am chwyddiant, gwnaed sawl ymgais. Mae amcangyfrifon yn dibynnu ar y mynegai prisiau a ddefnyddir i addasu’r grosiau,[19] a gall y cyfraddau cyfnewid a ddefnyddir i drosi rhwng arian cyfred hefyd effeithio ar y cyfrifiadau, a gall y ddau ohonynt gael effaith ar safleoedd terfynol rhestr wedi’i haddasu ar gyfer chwyddiant. Ystyrir yn gyffredinol mai Gone with the Wind — a ryddhawyd gyntaf yn 1939—yw’r ffilm fwyaf llwyddiannus, gyda Guinness World Records yn 2014 yn amcangyfrif ei gros byd-eang wedi’i addasu ar $3.4biliwn. Mae amcangyfrifon ' gyfer gros wedi’i addasu Gone with the Wind wedi amrywio’n sylweddol: amcangyfrifodd ei berchennog, Turner Entertainment, ei enillion wedi’u haddasu ar $3.3biliwn yn 2007, ychydig flynyddoedd ynghynt nag amcangyfrif Guinness;[20] mae amcangyfrifon eraill yn disgyn y naill ochr a'r llall i'r swm hwn, gydag un yn rhoi ei gros ychydig o dan $3biliwn yn 2010,[21] tra darparodd un arall ffigur amgen o $3.8biliwn yn 2006.[22] Mae pa ffilm sydd â chystadleuydd agosaf Gone with the Wind' dibynnu ar y set o ffigurau a ddefnyddiwyd: roedd gan GuinnessAvatar yn ail gyda $3biliwn, tra bod amcangyfrifon eraill yn gweld Titanic yn ail gydag enillion byd-eang rhediad cyntaf o bron i $2.9biliwn ar brisiau 2010.[21]
Rhagor o wybodaeth Rhif, Teitl ...
Ffilmiau â'r crynswth uchaf ar ôl addasiad chwyddiant[23][Inf]
Ffilmiau a gyfarwyddwyd gan Steven Spielberg fu’r ffilm â’r cynnydd mwyaf o’r flwyddyn chwe gwaith, ac ar dri achlysur bu’r ffilm â’r cynnydd mwyaf erioed.
Roedd chwaeth y gynulleidfa yn weddol eclectig yn ystod yr 20fed ganrif, ond daeth nifer o dueddiadau i'r amlwg. Yn ystod y cyfnod tawel, roedd ffilmiau gyda themâu rhyfel yn boblogaidd gyda chynulleidfaoedd, gyda The Birth of a Nation ( Rhyfel Cartref America ), The Four Horsemen of the Apocalypse, The Big Parade ac Wings ( y Rhyfel Byd Cyntaf i gyd ) yn dod yn ffilmiau mwyaf llwyddiannus yn eu blynyddoedd rhyddhau priodol, gyda'r duedd yn dod i ben gyda All Quiet ar Ffrynt y Gorllewin yn 1930. Gyda dyfodiad sain ym 1927, cymerodd y sioe gerdd — y genre sydd yn y sefyllfa orau i arddangos y dechnoleg newydd — drosodd fel y math mwyaf poblogaidd o ffilm gyda chynulleidfaoedd, gyda 1928 a 1929 ill dau yn cael eu harbennu gan ffilmiau cerddorol. Parhaodd y genre i berfformio'n gryf yn y 1930au, ond ar ddechrau'r Ail Ryfel Byd gwelwyd ffilmiau ar thema rhyfel yn dominyddu eto yn ystod y cyfnod hwn, gan ddechrau gyda Gone with the Wind (Rhyfel Cartref America) yn 1939, a gorffen gyda The Best Years of Our Lives (Yr Ail Ryfel Byd) yn 1946. Gwelodd Samson a Delilah (1949) ddechrau tuedd o ddramâu hanesyddol cynyddol ddrud a osodwyd yn ystod yr Hen Rufain / cyfnod beiblaidd trwy gydol y 1950au wrth i sinema gystadlu â theledu am gynulleidfaoedd,[24] gyda Quo Vadis, The Robe, The Ten Commandments, Ben -Hur a Spartacus i gyd yn dod yn ffilm â’r cynnydd mwyaf yn y flwyddyn yn ystod y rhyddhau cychwynnol, cyn i’r genre ddechrau pylu ar ôl sawl methiant amlwg.[25] Roedd llwyddiant White Christmas a South Pacific yn y 1950au yn rhagfynegi dychweliad y sioe gerdd yn y 1960au gyda West Side Story, Mary Poppins, My Fair Lady, The Sound of Music a Funny Girl i gyd ymhlith ffilmiau gorau'r ddegawd. Gwelodd y 1970au newid yn chwaeth y gynulleidfa i ffilmiau cysyniad uchel, gyda chwe ffilm o'r fath wedi'u gwneud naill ai gan George Lucas neu Steven Spielberg ar frig y siart yn ystod yr 1980au. Mae'r 21ain ganrif wedi gweld dibyniaeth gynyddol ar fasnachfreintiau ac addasiadau, gyda'r goruchafiaeth swyddfa docynnau o ffilmiau'n seiliedig ar eiddo deallusol a oedd yn bodoli eisoes ar y lefelau uchaf erioed.[26]
Rhagor o wybodaeth Blwyddyn, Teitl ...
Ffilmiau â'r crynswth mwyaf wrth flwyddyn[27][28][29]
Arloesodd The Birth of a Nation lawer o'r technegau a ddefnyddir mewn gwneud ffilmiau heddiw, gan ddod y ffilm fwyaf llwyddiannus a wnaed erioed ar adeg ei rhyddhau.
Mae o leiaf un ar ddeg o ffilmiau wedi dal y record o ‘ffilm gyda’r gwerth mwyaf’ ers i The Birth of a Nation ddod i’r brig ym 1915. Treuliodd The Birth of a Nation a Gone with the Wind ill dau bum mlynedd ar hugain yn olynol fel y grosser uchaf, gyda ffilmiau a gyfarwyddwyd gan Steven Spielberg a James Cameron yn dal y record ar dri achlysur yr un. Daeth Spielberg y cyfarwyddwr cyntaf i dorri ei record ei hun pan oddiweddodd Jurassic ParkET, ac efelychodd Cameron y gamp pan dorrodd Avatar y record a osodwyd gan Titanic. Pan ddaeth i'r brig yn 2019, Avengers: Endgame oedd y dilyniant cyntaf i ddal y record o ennill y mwyaf o ffilmiau, ac wrth wneud hynny daeth tri deg chwech o flynyddoedd o oruchafiaeth Spielberg/Cameron i ben cyn i Avatar adennill y safle uchaf ddwy flynedd yn ddiweddarach. yn 2021 ar ôl ei ail-ryddhau.
Mae rhai ffynonellau'n honni bod The Big Parade wedi disodli The Birth of a Nation fel ffilm â'r elw mwyaf, gan gael ei disodli yn y pen draw gan Snow White and the Seven Dwarfs, a gafodd ei thrawsfeddiannu'n gyflym gan Gone with the Wind.[31] Nid yw'r union ffigurau'n hysbys ar gyfer The Birth of a Nation, ond mae cofnodion cyfoes yn rhoi ei enillion byd-eang ar $5.2miliwn o 1919.[32] Gohiriwyd ei ryddhau rhyngwladol gan y Rhyfel Byd Cyntaf, ac ni chafodd ei ryddhau mewn llawer o diriogaethau tramor tan y 1920au; ynghyd ag ail-rhyddhau pellach yn yr Unol Daleithiau, ei $10miliwn o enillion fel yr adroddwyd gan Variety yn 1932 yn gyson â'r ffigur cynharach. Ar yr adeg hon, roedd gan VarietyGenedigaeth Cenedl o flaen The Big Parade ($6,400,000) o hyd ar renti dosbarthwyr ac—os yw ei amcangyfrif yn gywir— ni fyddai Snow White and the Seven Dwarfs ($8,500,000)[33] wedi ennill digon ar ei rhediad theatrig cyntaf i gymryd y record;[34] er mai hwn fyddai'r 'talkie' â'r cynnydd mwyaf,[35] gan ddisodli The Singing Fool ($5,900,000).[36] Er bod doethineb derbyniedig yn awgrymu ei bod yn annhebygol y cafodd The Birth of a Nation ei goddiweddyd erioed gan ffilm cyfnod mud,[37] byddai’r record yn disgyn i Ben-Hur ($9,386,000) ym 1925 pe bai The Birth of a Nation yn ennill gryn dipyn yn llai na’r hyn a amcangyfrifwyd. gros.[38] Yn ogystal â'i enillion rhent gros trwy arddangosfa gyhoeddus, chwaraeodd The Birth of a Nation mewn nifer fawr o ymrwymiadau preifat, clwb a sefydliadol nad yw ffigurau ar gael ar eu cyfer.[39] Roedd yn hynod boblogaidd gyda’r Ku Klux Klan a’i defnyddiodd i ysgogi recriwtio,[40] ac ar un adeg amcangyfrifodd Variety mai cyfanswm ei enillion oedd tua $50.miliwn.[41] Er gwaethaf tynnu’r hawliad yn ôl yn ddiweddarach, mae’r swm wedi’i adrodd yn eang er nad yw erioed wedi’i gadarnhau.[32] Er y derbynnir yn gyffredinol bod Gone with the Wind wedi cymryd drosodd y record o ffilm â’r cynnydd mwyaf wrth ei rhyddhau am y tro cyntaf—sy’n wir o ran arddangosfa gyhoeddus—mae’n debygol na wnaeth oddiweddyd The Birth of a Nation mewn cyfanswm refeniw tan a yn ddiweddarach o lawer, gan ei fod yn dal i gael ei adrodd fel yr enillydd uchaf hyd at y 1960au.[39] Mae’n bosibl bod Gone with the Wind ei hun wedi’i goddiweddyd am gyfnod byr gan The Ten Commandments (1956), a gaeodd ddiwedd 1960 gyda rhenti byd-eang o $58–60miliwn[42][43] o'i gymharu â Gone with the Wind' s $59miliwn;[44] pe bai'n hawlio'r man uchaf roedd ei ddeiliadaeth yno yn fyrhoedlog, gan i Gone with the Wind gael ei ail-ryddhau'r flwyddyn ganlynol a chynyddu ei enillion i $67miliwn. Yn dibynnu ar ba mor gywir yw'r amcangyfrifon, efallai bod ail-wneud Ben-Hur ym 1959 hefyd wedi dal y record o Gone with the Wind: erbyn diwedd 1961 roedd wedi ennill $47miliwn ledled y byd,[45] ac erbyn 1963 roedd yn llusgo Gone with the Wind o ddim ond $2miliwn gyda derbyniadau rhyngwladol o $65miliwn,[46] yn y pen draw yn ennill $66miliwn o'i ryddhad cychwynnol.[47]
Dywedir bod ffilm bornograffig 1972 Deep Throat wedi ennill cymaint â $600miliwn, ffigur a allai fod wedi'i chwyddo gan gangsters mewn cynlluniau gwyngalchu arian.
Ffilm arall yr honnir iddi fod â'r grosser uchaf yw'r ffilm bornograffig o 1972, Deep Throat. Ym 1984, tystiodd Linda Lovelace i Is-bwyllgor Barnwriaeth Senedd yr Unol Daleithiau ar gyfiawnder ieuenctid fod y ffilm wedi ennill $600miliwn;[48] mae'r ffigwr hwn wedi bod yn destun llawer o ddyfalu, oherwydd os yw'n gywir yna byddai'r ffilm wedi gwneud mwy o arian na Star Wars, a gorffen y 1970au fel y ffilm â'r elw mwyaf. Y brif ddadl yn erbyn y ffigur hwn yw nad oedd ganddo ryddhad digon eang i gynnal y math o symiau y byddai eu hangen er mwyn iddo grosio’r swm hwn yn y pen draw.[49] Nid yw'r union ffigurau'n hysbys, ond dangosodd tystiolaeth mewn treial ffederal ym 1976 - tua phedair blynedd ar ôl i'r ffilm gael ei rhyddhau - fod y ffilm wedi cronni dros $25.miliwn.[50] Mae Roger Ebert wedi rhesymu ei fod o bosibl wedi ennill cymaint â $600miliwn ar bapur, gan fod mobsters yn berchen ar y rhan fwyaf o'r theatrau ffilm i oedolion yn ystod y cyfnod hwn ac y byddent yn gwyngalchu incwm o gyffuriau a phuteindra drwyddynt, felly mae'n debyg y byddai wedi chwyddo'r derbyniadau swyddfa docynnau ar gyfer y ffilm.[51]
Cynyddodd Geni Cenedl, Gone with the Wind, The Godfather, Jaws, Star Wars, ET, ac Avatar eu record gros gydag ail-ryddhau. Mae'r crynswth o'u rhediadau theatrig gwreiddiol wedi'u cynnwys yma ynghyd â chyfansymiau o ail-rhyddhau hyd at y pwynt iddynt golli'r record; felly mae'r cyfanswm ar gyfer The Birth of a Nation yn cynnwys incwm o'i hailgyhoeddi hyd at 1940; mae'r cyfanswm ar gyfer Star Wars yn cynnwys refeniw o ailgyhoeddiadau diwedd y 1970au a dechrau'r 1980au ond nid o Argraffiad Arbennig 1997; mae’r cyfanswm ar gyfer ET yn ymgorffori ei grynswth o ailgyhoeddi 1985 ond nid o 2002. Mae'r cyfanswm ar gyfer ymddangosiad cyntaf Avatar ar y siart yn cynnwys refeniw o Argraffiad Arbennig 2010, sy'n cynrychioli ei holl enillion hyd at y pwynt y rhoddodd y gorau i'r record, tra bod ei ail ymddangosiad hefyd yn ymgorffori refeniw o ail-rhyddhau 2020 yn Asia. -Rhanbarth y Môr Tawel yn ogystal ag ail-ryddhau 2021 yn Tsieina a'i helpodd i adennill y record. Yn yr un modd mae Gone with the Wind yn cael ei gynrychioli ddwywaith ar y siart: mae cofnod 1940 yn cynnwys enillion o’i ryddhad cyfnodol 1939–1942 ( sioe deithiol / rhyddhau cyffredinol / ail rediad ).[52]
Cyn 2000, dim ond saith cyfres ffilm oedd wedi ennill dros $1biliwn yn y swyddfa docynnau: James Bond,[66]Star Wars,[67]Indiana Jones,[68]Rocky,[69][70][71]Batman,[72]Jurassic Park,[73] a Star Trek.[74] Ers troad y ganrif, mae’r nifer hwnnw wedi cynyddu i dros wyth deg (heb gynnwys trawiadau untro fel Titanic a Zootopia ).[75] Mae hyn yn rhannol oherwydd chwyddiant a thwf y farchnad, ond mae hefyd oherwydd bod Hollywood wedi mabwysiadu'r model masnachfraint: ffilmiau sydd â chydnabyddiaeth brand fel eu bod yn seiliedig ar ffynhonnell lenyddol adnabyddus neu gymeriad sefydledig. Mae'r fethodoleg yn seiliedig ar y cysyniad y gall ffilmiau sy'n gysylltiedig â phethau y mae cynulleidfaoedd eisoes yn gyfarwydd â nhw gael eu marchnata'n fwy effeithiol iddynt, ac fel y cyfryw fe'u gelwir yn ffilmiau "wedi'u gwerthu ymlaen llaw" o fewn y diwydiant.[76]
Fel arfer diffinnir rhyddfraint fel o leiaf ddau waith sy'n deillio o eiddo deallusol cyffredin. Yn draddodiadol, mae gan y gwaith berthynas tautolegol â'r eiddo, ond nid yw hyn yn rhagofyniad. Un o brif elfennau parhaol y model masnachfraint yw'r cysyniad o'r gorgyffwrdd, y gellir ei ddiffinio fel "stori lle mae cymeriadau neu gysyniadau o ddau neu fwy o destunau neu gyfresi o destunau arwahanol yn cyfarfod".[77] Un o ganlyniadau gorgyffwrdd yw y gall eiddo deallusol gael ei ddefnyddio gan fwy nag un fasnachfraint. Er enghraifft, mae Batman v Superman: Dawn of Justice yn perthyn nid yn unig i fasnachfreintiau Batman a Superman, ond hefyd i'r Bydysawd Estynedig DC, sy'n fydysawd a rennir. Mae bydysawd a rennir yn fath arbennig o groesfan lle mae nifer o gymeriadau o ystod eang o weithiau ffuglen yn dod i ben yn rhannu byd ffuglen.[78]
Ffilmiau Star Wars yw'r gyfres sy'n ennill y cyfanswm mwyaf yn seiliedig ar un eiddo, gan ennill dros $10biliwn yn y swyddfa docynnau (er bod ffilmiau Eon James Bond wedi ennill dros $19biliwn i gyd o'i addasu i brisiau cyfredol). [80] Os cynhwysir incwm atodol o nwyddau, yna Star Wars yw'r eiddo mwyaf proffidiol;[81] mae'n dal record byd Guinness am y "franchise marsiandïaeth ffilm fwyaf llwyddiannus" ac roedd yn werth £19.51biliwn yn 2012 (tua $30biliwn).[82][83]
Vogel, Harold L. (2010). Entertainment Industry Economics: A Guide for Financial Analysis. Cambridge University Press. t.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.
Balio, Tino (1987). United Artists: the Company that Changed the Film Industry. University of Wisconsin Press. t.124–125. ISBN978-0-299-11440-4. To rekindle interest in the movies, Hollywood not only had to compete with television but also with other leisure-time activities...Movies made a comeback by 1955, but audiences had changed. Moviegoing became a special event for most people, creating the phenomenon of the big picture.
Wasko, Janet (1986). "D.W. Griffiths and the banks: a case study in film financing". In Kerr, Paul (gol.). The Hollywood Film Industry: A Reader. Routledge. t.34. ISBN978-0-7100-9730-9. Various accounts have cited $15to$18million 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 $15to$18million box-office gross was a 'conservative estimate'. For years Variety has listed The Birth of a Nation's total rental at $50million. (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 $5million. That figure seems far more feasible, as reports of earnings in the Griffith collection list gross receipts for 1915–1919 at slightly more than $5.2million (including foreign distribution) and total earnings after deducting general office expenses, but not royalties, at about $2million.
Block & Wilson 2010. "By the end of 1938, it had grossed more than $8million in worldwide rentals and was ranked at the time as the second-highest-grossing film after the 1925 epic Ben-Hur".
Finler 2003. "Walt Disney took a big risk when he decided to invest $1.5million in his first feature-length animated film, Snow White and the Seven Dwarfs. It became the biggest hit of the sound era and the largest-grossing movie since The Birth of a Nation – until the release of independent producer David O. Selznick's Gone with the Wind just two years later."
Barrios, Richard (1995). A Song in the Dark: The Birth of the Musical Film. Oxford University Press. t.49. ISBN978-0-19-508811-3. Since it's rarely seen today, The Singing Fool is frequently confused with The Jazz Singer; although besides Jolson and a pervasively maudlin air the two have little in common. In the earlier film Jolson was inordinately attached to his mother and sang "Mammy"; here the fixation was on his young son, and "Sonny Boy" became an enormous hit. So did the film, which amassed a stunning world-wide gross of $5.9million...Some sources give it as the highest gross of any film in its initial release prior to Gone with the Wind. This is probably overstating it—MGM's records show that Ben-Hur and The Big Parade grossed more, and no one knows just how much The Birth of a Nation brought in. Still, by the standards of the time it's an amazing amount.
Everson, William K. (1998) [First published 1978]. American silent film. Da Capo Press. t.374. ISBN978-0-306-80876-0. Putting The Birth of a Nation in fifth place is open to question, since it is generally conceded to be the top-grossing film of all time. However, it has always been difficult to obtain reliable box-office figures for this film, and it may have been even more difficult in the mid-1930s. After listing it until the mid-1970s as the top-grosser, though finding it impossible to quote exact figures, Variety, the trade journal, suddenly repudiated the claim but without giving specific details or reasons. On the basis of the number of paid admissions, and continuous exhibition, its number one position seems justified.
Hall & Neale 2010. "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."
Klopsch,Louis;Sandison,George Henry;Talmage,Thomas De Witt(1965).Christian Herald.88.p. 68."Yet "The Ten Commandments" has earned 58million dollars in film rentals and is expected to bring in 10to15million each year it is reissued."
Hall & Neale 2010. "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 $60million. 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)."
Bartel, Pauline (1989). The Complete Gone with the Wind Trivia Book: The Movie and More. Taylor Trade Publishing. t.127. ISBN978-0-87833-619-7. At the end of the 1941 general release, MGM decided to withdraw GWTW again. The prints were battered, but the studio believed one final fling for GWTW was possible. The film returned to movie theaters for the third time in the spring of 1942 and stayed in release until late 1943... When MGM finally pulled the film from exhibition, all worn-out prints were destroyed, and GWTW was at last declared out of circulation. MGM, which by then had sole ownership of the film, announced that GWTW had grossed over $32million.
Dick, Bernard F. (1997). City of Dreams: The Making and Remaking of Universal Pictures. University Press of Kentucky. t.168. ISBN978-0-8131-2016-4. Jaws (1975) saved the day, grossing $104million domestically and $132million worldwide by January 1976.
Cook, David A. (2002). Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970–1979. 9 of History of the American Cinema, Charles Harpole. University of California Press. t.50. ISBN978-0-520-23265-5. The industry was stunned when Star Wars earned nearly $3million in its first week and by the end of August had grossed $100million; it played continuously throughout 1977–1978, and was officially re-released in 1978 and 1979, by the end of which it had earned $262million in rentals worldwide to become the top- grossing film of all time – a position it would maintain until surpassed by Universal's E.T.: The Extra-Terrestrial in January 1983.
Prior to the release of Spectre in 2015, the James Bond series had grossed approximately $17.7billion at 2015 prices;[79] after factoring in earnings of over $1.6 billion from Spectre and No Time to Die, the series has earned at least $19.3billion adjusted for inflation.
"Spider-Man: No Way Home (2021)". Box Office Mojo. Archifwyd o'r gwreiddiol ar July 29, 2022. Cyrchwyd November 30, 2022. All Releases: $1,916,306,995; Original Release: $1,901,232,550 (from archived link)
"Frozen (2013) – International Box Office Results". Box Office Mojo. Archifwyd o'r gwreiddiol ar August 9, 2014. Worldwide – $1,274,219,009 (total as of August 8, 2014; including Japanese gross up to August 3, Spanish gross up to July 27, UK gross up to June 8, German gross up to March 30, and omitting Nigerian gross)
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.
Pre-2022 releases: "Jurassic Park (1993)". Box Office Mojo. Archifwyd o'r gwreiddiol ar 2021-01-26. Cyrchwyd March 7, 2022. Worldwide: $1,033,928,303; Original Release: $912,667,947; Production Budget: $63million
As of 2010: Block & Wilson 2010, tt.756–757. "Production Cost: $70.0 (Unadjusted $s in Millions of $s)... Jurassic Park was a smash at the box office, bringing in $920million in worldwide box office and spawning two sequels."
Total: "The Dark Knight (2008)". Box Office Mojo. Cyrchwyd October 5, 2022. Total: $1,006,234,167
Original release (excluding 2009 IMAX reissue): "The Dark Knight". The Numbers. Nash Information Services. LLC. Archifwyd o'r gwreiddiol ar February 8, 2009. Cyrchwyd 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: "Warner Bros. Entertainment Wraps Record-Breaking Year". Warner Bros. January 8, 2009. Archifwyd o'r gwreiddiol ar 2022-06-09. Cyrchwyd April 22, 2016. With worldwide receipts of $997million, "The Dark Knight" is currently fourth on the all-time box office gross list, and the film is being re-released theatrically on January 23.
First-run gross and IMAX reissue: Gray, Brandon (February 20, 2009). "Billion Dollar Batman". Box Office Mojo. Cyrchwyd June 7, 2014. The Dark Knight had been hovering just shy of $1billion for several months and reportedly sat at $997million 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 University Press. t.262. ISBN978-0-19-975579-0. The Birth of a Nation, costing an unprecedented and, many believed, thoroughly foolhardy $110,000, eventually returned $20million 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 $50million to $100million, 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 (gol.). The Hollywood Film Industry: A Reader. Routledge. t.34. ISBN978-0-7100-9730-9. Various accounts have cited $15to$18million 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 $15to$18million box-office gross was a 'conservative estimate'. For years Variety has listed The Birth of a Nation's total rental at $50million. (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 $5million. That figure seems far more feasible, as reports of earnings in the Griffith collection list gross receipts for 1915–1919 at slightly more than $5.2million (including foreign distribution) and total earnings after deducting general office expenses, but not royalties, at about $2million.
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. t.98. It was a low budgeter—$120,000—but it grossed world-wide over $3million and made stars of Chaney and his fellow-players, Betty Compson and Thomas Meighan.
Solomon, Aubrey (2011). The Fox Film Corporation, 1915–1935: A History and Filmography. McFarland & Company. ISBN978-0-7864-6286-5.
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, t.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 $4million in 1925 and at $5million 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. t.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.
Vance, Jeffrey (2008). Douglas Fairbanks. University of California Press. t.146. ISBN978-0-520-25667-5. The film had a production cost of $930,042.78—more than the cost of D.W. Griffith's Intolerance and nearly as much as Erich von Stroheim's Foolish Wives (1922).
May,Richard P.(Fall 2005),"Restoring The Big Parade",The Moving Image5(2): 140–146,doi:10.1353/mov.2005.0033,ISSN1532-3978,"...earning somewhere between $18and$22million, depending on the figures consulted"
Robertson, Patrick (1991). Guinness Book of Movie Facts and Feats (arg. 4). Abbeville Publishing Group. t.30. ISBN978-1-55859-236-0. The top grossing silent film was King Vidor's The Big Parade (US 25), with worldwide rentals of $22million.
Hall & Neale 2010, tt.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, t.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.)"
Finler 2003, t.188. "At a cost of $2million Wings was the studio's most expensive movie of the decade, and though it did well it was not good enough to earn a profit."
Block,Hayley Taylor(2010),The Jazz Singer,p.113,"The film brought in $2.6million 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.
Crafton, Donald (1999). The Talkies: American Cinema's Transition to Sound, 1926–1931. University of California Press. tt.549–552. ISBN978-0-520-22128-4. The Singing Fool: Negative Cost ($1000s): 388
Birchard,Robert S.(2010),The Broadway Melody,p.121,"It earned $4.4million in worldwide rentals and was the first movie to spawn sequels (there were several until 1940)." In: Block & Wilson 2010.
Bradley, Edwin M. (2004) [1st. pub. 1996]. The First Hollywood Musicals: A Critical Filmography of 171 Features, 1927 Through 1932. McFarland & Company. ISBN978-0-7864-2029-2.
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 $5.9million. 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 $2.8million in the United States, $4.8million worldwide, and made a recorded profit of $1.6million for MGM."
Gold Diggers of Broadway: p. 58. "It grossed an impressive $2.5million domestically and nearly $4million worldwide."
Solomon, Aubrey (2002) [First published 1988]. Twentieth Century-Fox: a corporate and financial history. Filmmakers series. 20. Rowman & Littlefield. ISBN978-0-8108-4244-1.
Sunny Side Up: p. 10. "Sunny Side Up, a musical starring Janet Gaynor and Charles Farrell, showed domestic rentals of $3.5million, a record for the company."
Forever Amber: p. 66. "On the surface, with world rentals of $8million, 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 $75million worldwide."
Cormack, Mike (1993). Ideology and Cinematography in Hollywood, 1930–1939. Palgrave Macmillan. t.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.
Balio, Tino (1996). Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939. 5 of History of the American Cinema. University of California Press. ISBN978-0-520-20334-1.
Cavalcade: p. 182. "Produced by Winfield Sheehan at a cost of $1.25million, Cavalcade won Academy Awards for best picture, director, art direction and grossed close to $4million 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 $1million, 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. Nonetheless, Cantor's feature-film debut grossed over $2.6million 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. t.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 $3.2million to make, and by July, 1931, eight months after its release, the production cost had nearly been paid off. Keats claimed the picture cost $4million 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 $1.6million in the domestic market, of which Hughes' share was $1.2million. Whatever the foreign gross was, it seems unlikely that it was great enough to earn a profit for the picture.
Block & Wilson 2010, t.163. "It drew $1.4million in worldwide rentals in its first run versus $1.2million for Dracula, which had opened in February 1931."
Vance, Jeffrey (2003). Chaplin: genius of the cinema. Abrams Books. t.208. Chaplin's negative cost for City Lights was $1,607,351. The film eventually earned him a worldwide profit of $5million ($2million domestically and $3million in foreign distribution), an enormous sum of money for the time.
Sedgwick, John (2000). Popular Filmgoing In 1930s Britain: A Choice of Pleasures. University of Exeter Press. tt.146–148. ISBN978-0-85989-660-3. Sources: Eddie Mannix Ledger, made available to the author by Mark Glancy...
Grand Hotel: Production Cost $000s: 700; Distribution Cost $000s: 947; U.S. box-office $000s: 1,235; Foreign box-office $000s: 1,359; Total box-office $000s: 2,594; Profit $000s: 947.
The Merry Widow: Production Cost $000s: 1,605; Distribution Cost $000s: 1,116; U.S. box-office $000s: 861; Foreign box-office $000s: 1,747; Total box-office $000s: 2,608; Profit $000s: -113.
Viva Villa: Production Cost $000s: 1,022; Distribution Cost $000s: 766; U.S. box-office $000s: 941; Foreign box-office $000s: 934; Total box-office $000s: 1,875; Profit $000s: 87.
Mutiny on the Bounty: Production Cost $000s: 1,905; Distribution Cost $000s: 1,646; U.S. box-office $000s: 2,250; Foreign box-office $000s: 2,210; Total box-office $000s: 4,460; Profit $000s: 909.
San Francisco: Production Cost $000s: 1,300; Distribution Cost $000s: 1,736; U.S. box-office $000s: 2,868; Foreign box-office $000s: 2,405; Total box-office $000s: 5,273; Profit $000s: 2,237.
Jewel,Richard(1994)."RKO Film Grosses: 1931–1951".Historical Journal of Film Radio and Television14(1): 39."1933 release: $1,856,000; 1938 release: $306,000; 1944 release: $685,000"
"King Kong (1933)– Notes". Turner Classic Movies. Cyrchwyd January 7, 2012. 1952 release: $2,500,000; budget: $672,254.75
"I'm No Angel (1933)– Notes". Turner Classic Movies. Cyrchwyd January 7, 2012. According to a modern source, it had a gross earning of $2,250,000 on the North American continent, with over a million more earned internationally.
Finler 2003, t.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 $3million 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. t.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 $2million in the United States and an additional million in overseas markets.
Turk, Edward Baron (2000) [1st. pub. 1998]. Hollywood Diva: A Biography of Jeanette MacDonald. University of California Press. ISBN978-0-520-22253-3.
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.]
Dick, Bernard F. (2008). Claudette Colbert: She Walked in Beauty. University Press of Mississippi. t.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. t.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 $330million.
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 $8million 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 $1.6million in domestic rentals (compared with Snow White's $4.2million) and $1.9million in foreign rentals (compared with Snow White's $4.3million)."
You Can't Take It With You:"You Can't Take It With You Premieres". Focus Features. Archifwyd o'r gwreiddiol ar September 13, 2012. You Can't Take It With You received excellent reviews, won Best Picture and Best Director at the 1938 Academy Awards, and earned over $5million worldwide.Nodyn:Cbignore
Boys Town: Block,Alex Ben(2010),Boys Town,p.215,"The film quickly became a smash nationwide, making a profit of over $2million on worldwide rentals of $4million." 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."$3.981million."
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 $3.6million." In: Block & Wilson 2010.
Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. New York: Oxford University Press. t.266. ISBN978-0-19-983922-3. The film's negative cost was $2.6million, more than $1million higher than Snow White's.
Schatz, Thomas (1999) [1st. pub. 1997]. Boom and Bust: American Cinema in the 1940s. 6 of History of the American Cinema. University of California Press. t.466. ISBN978-0-520-22130-7. Boom Town ($4.6million).
Block & Wilson 2010, tt.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."
Finler 2003, t.301. "The studio did particularly well with its war-related pictures, such as Sergeant York (1941), which cost $1.6million 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."
Glancy, Mark (1999). When Hollywood Loved Britain: The Hollywood 'British' Film 1939–1945. Manchester University Press. tt.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 $5.4million take in domestic rentals (making Mrs. Miniver 1942's top grosser), with a $4.8million profit on worldwide rentals of $8.9million."
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 $3.4million on worldwide rentals of $6.5million."
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 $11million in worldwide rentals in its initial release." In: Block & Wilson 2010.
"A Guy Named Joe (1944) – Notes". Turner Classic Movies. Cyrchwyd 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. tt.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 $2million. By 1949 Time had estimated that Mom and Dad had taken in $8million from twentymillion moviegoers. And publicity issuing from Mom and Dad's production company indicated that by the end of 1956 it had grossed over $80million worldwide. Net rentals of around $22million 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 $100million, 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 $3.7million profit on $11.2million in worldwide rentals."
Burns,Douglas(2010),The Best years of Our Lives,p.301,"The film made a $5million profit on worldwide rentals of $14.8million." In: Block & Wilson 2010.
Hall & Neale 2010, t.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. t.18. ISBN978-1-85043-815-1. Forever Amber: $8million; Unconquered: $7.5million; Life with Father: $6.25million
Street, Sarah (2002). Transatlantic Crossings: British Feature Films in the United States. Continuum International Publishing Group. t.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."
Eisner, Michael D.; Schwartz, Tony (2009). Work in Progress. Pennsylvania State University. t.178. ISBN978-0-7868-8507-7. Cinderella revived its fortunes. Re-released in February 1950, it cost nearly $3million to make but earned more than $20million worldwide.
Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. Oxford University Press. t.401. ISBN978-0-19-516729-0. It cost around $2.2million, 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 $7.8million, almost twice as much as the two package features combined.
Lev, Peter (2006). Transforming the Screen, 1950–1959. 7 of History of the American Cinema. University of California Press. ISBN978-0-520-24966-0.
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 $21.2million (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 $1million and North American rentals of $5.3million."
Zone, Ray (2012). 3-D Revolution: The History of Modern Stereoscopic Cinema. University Press of Kentucky. t.71. ISBN978-0-8131-3611-0. Produced at a cost of $1million, This is Cinerama ran 122 weeks, earning $4.7million in its initial New York run alone and eventually grossed over $32million. 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 $82million.
Burns,Douglas(2010),The Greatest Show on Earth,pp.354–355,"By May 1953, Variety was reporting that the Best Picture winner had amassed $18.35million in worldwide rentals." In: Block & Wilson 2010.
Hall & Neale 2010, t.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 $4.1million budget...It ultimately returned domestic rentals of $17.5million and $25million worldwide, placing it second only to Gone with the Wind in Variety's annually updated chart."
Hall & Neale 2010, t.149. "VistaVision was first used for the musical White Christmas (1954), which Variety named the top grosser of its year with anticipated domestic rentals of $12million."
Finler 2003, t.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 $4.5million."
D'Alessandro, Anthony (October 27, 2003). "Disney Animated Features at the Worldwide Box Office". Variety. Cyrchwyd 4 July 2022– drwy The Free Library. The Jungle Book $378million; One Hundred and One Dalmatians $303million; Lady and the Tramp $187million
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 $4.5million on worldwide rentals of $9.9million, putting it in the top 5 domestic films of 1955."
Block & Wilson 2010, t.327. "Production cost: $13.3million; 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 $60million. 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 $30.6million worldwide on first release."
Hall & Neale 2010, t.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 $30million."
Ross, Steven J. (2011). Hollywood Left and Right: How Movie Stars Shaped American Politics. Oxford University Press. tt.278–279. ISBN978-0-19-991143-1. Costing $15million to produce, the film earned $47million by the end of 1961 and $90million worldwide by January 1989.
Block & Wilson 2010, t.324. "Worldwide box office: $146.9million; Worldwide rentals: $66.1million; Production cost: $15.9million. (Initial Release – Unadjusted $s in Millions of $s)"
Reid, John Howard (2006). America's Best, Britain's Finest: A Survey of Mixed Movies. 14 of Hollywood classics. Lulu. t.243–245. ISBN978-1-4116-7877-4. Negative cost: around $4million; Worldwide film rentals gross (including 1968 American reissue) to 1970: $30million.
Webster, Patrick (2010). Love and Death in Kubrick: A Critical Study of the Films from Lolita Through Eyes Wide Shut. McFarland & Company. tt.298 (note 2.23). ISBN978-0-7864-5916-2. Spartacus cost $12million and grossed some $60million 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 $15million (70 percent of which came from Fox), thereby recouping the bulk of his $18million investment. Although The Bible returned a respectable world rental of $25.3million, Fox was still left with a net loss of just over $1.5million. It was the last biblical epic to be released by any major Hollywood studio for nearly twenty years."
Block,Hayley Taylor(2010),West Side Story,p.449,"With its three rereleases, it took in over $105million in worldwide box office ($720million in 2005 dollars)." In: Block & Wilson 2010.
The Sound of Music: "Domestic Rentals: $68.4; Foreign Rentals: $46.2; Production Cost: $8.0 (Initial Release – Unadjusted $s in Millions of $s)."
The Dirty Dozen: "Domestic Rentals: $20.1; Foreign Rentals: $11.2; Production Cost: $5.4 (Initial Release – Unadjusted $s in Millions of $s)."
2001: A Space Odyssey: "Domestic Rentals: $16.4; Foreign Rentals: $5.5; Production Cost: $10.3 (Initial Release – Unadjusted $s in Millions of $s)."
Cleopatra: "Domestic Rentals: $22.1; Foreign Rentals: $18.2; Production Cost: $44.0 (Initial Release – Unadjusted $s in Millions of $s)."
West Side Story: "Domestic Rentals: $16.2; Foreign Rentals: $15.6; Production Cost: $7.0 (Initial Release – Unadjusted $s in Millions of $s)."
The Longest Day: "Domestic Rentals: $13.9; Foreign Rentals: $19.3; Production Cost: $8.6 (Initial Release – Unadjusted $s in Millions of $s)."
Butch Cassidy and the Sundance Kid: "Domestic Rentals: $29.2; Foreign Rentals: $7.9; Production Cost: $6.6 (Initial Release – Unadjusted $s in Millions of $s)."
1962 release: "Lawrence of Arabia". The Numbers. Nash Information Services. LLC. Cyrchwyd August 15, 2011. Worldwide Box Office: $69,995,385; International Box Office: $32,500,000
U.S. total (including reissues): "Lawrence of Arabia". Boxoffice. Cyrchwyd May 29, 2016. $44,824,852
Lawrence of Arabia: Columbia released the $13.8million Lawrence of Arabia (1962), filmed in Super Panavision 70, exclusively on a hard-ticket basis, but opened Barabbas (1962), The Cardinal (1963), and the $12million 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 $8million. It grossed over $30million 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 $20million in such guarantees from exhibitors even before its premiere. Fox claimed the film had cost in total $44million, of which $31,115,000 represented the direct negative cost and the rest distribution, print and advertising expenses. (These figures excluded the more than $5million 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 $23.5million from the United States."
Hall & Neale 2010, t.164. "West cost $14,483,000; although it earned $35million 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 $9.9million were an improvement on its predecessor, helped by a slightly wider release, though they were still only half the $19.5million 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 $45.7million..."
Moonraker: "These figures were surpassed by Moonraker, which earned total worldwide rentals of $87.7million, of which $33million came from North America. (Online copy at Google Books)"
Balio, Tino (2009). United Artists, Volume 2, 1951–1978: the Company that Changed the Film Industry. University of Wisconsin Press. t.261. ISBN978-0-299-23014-2.
From Russia With Love: "The picture grossed twice as much as Dr. No, both domestic and foreign—$12.5million worldwide (Online copy at Google Books)"
Goldfinger: "Produced on a budget of around $3million, Goldfinger grossed a phenomenal $46million worldwide the first time around. (Online copy at Google Books)"
My Fair Lady: "My Fair Lady (1964) cost Warners $17million to make, including a record $5.5million 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 $55million from roadshowing worldwide."
Mary Poppins: "Mary Poppins (1964), which cost $5.2million, was neither a stage adaptation nor a roadshow. But by the end of its first release, it had grossed nearly $50million worldwide."
Burns,Douglas(2010),Mary Poppins,p.469,"In its initial run, Poppins garnered an astounding $44million in worldwide rentals and became the company's first Best Picture Oscar contender." In: Block & Wilson 2010.
Silverman, Stephen M (1988). The Fox that got Away: The Last Days of the Zanuck Dynasty at Twentieth Century-Fox. Secaucus, N.J.: L. Stuart. t.325. ISBN9780818404856.
Hall & Neale 2010, t.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 $1million and $750,000 respectively, against 10 percent of the gross apiece. (Their participation was presumably added to the budget)."
"Animals Portray Parts in Disney's "Robin Hood"". Toledo Blade. October 18, 1970. Sec. G, p. 7. "The Jungle Book," in it's[sic] initial world-wide release, has grossed $23.8million to date...
Murphy, A.D. (October 4, 1967). "The Jungle Book". Variety. t.6. Cyrchwyd March 14, 2018. It was filmed at a declared cost of $4million over a 42-month period.
The Graduate: "The Graduate eventually earned U.S. rentals of $44,090,729 on a production cost of $3.1million to become the most lucrative non-roadshow picture (and independent release) to date."
Butch Cassidy and the Sundance Kid: "None 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 $10million domestically."
Total: Miller, Frank. "2001: A Space Odyssey (1968)– Articles". Turner Classic Movies. Cyrchwyd August 24, 2011. 2001: A Space Odyssey made $15 million on its initial U.S. release, and currently shows a worldwide gross of over $190 million.
As of 2006: Palmer, R. Barton (2006). "2001: The Critical Reception and the Generation Gap". In Kolker, Robert Phillip (gol.). Stanley Kubrick's 2001: a Space Odyssey: New Essays. Oxford University Press. t.16. ISBN978-0-19-517452-6. With its initial and subsequent releases, domestic and worldwide, Kubrick's arty, intellectual film earned nearly $138million, which was, at that time, an astounding figure.
Haber, Joyces (March 27, 1969). "'Funny Girl' a Box Office Winner". Los Angeles Times. Archifwyd o'r gwreiddiol ar July 24, 2012. Cyrchwyd March 29, 2012. ..."Funny Girl" will gross an estimated $80to$100million worldwide.
Welles, Chris (September 7, 1970). "Behind the Silence at Columbia Pictures—No Moguls, No Minions, Just Profits". New York. 3 (36). New York Media. tt.42–47. While Columbia, battling Ray Stark over every dollar, did Funny Girl for around $8.8million, a million or so over budget, Fox spent nearly $24million 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. 2008. t.388. Butch Cassidy went on to be a huge hit—by the spring of 1970 it had taken in $46million in North America and grossed another $50million abroad.
"'Love Story' II: Ryan Redux?". New York. 9. New York Media. 1976. t.389. Bring those handkerchiefs out of retirement.... After all, the first movie made around $80million worldwide.
Block & Wilson 2010, t.549. "Fiddler had the highest domestic box office of 1971 (it was second in worldwide box office after Diamonds Are Forever), with more than $100million 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 $3.8million print and ad costs almost as high as the $4.3million in worldwide rentals."
1974: Newsweek. 84. 1974. t.74. The original Godfather has grossed a mind-boggling $285million...
1991: Von Gunden, Kenneth (1991). Postmodern auteurs: Coppola, Lucas, De Palma, Spielberg, and Scorsese. McFarland & Company. t.36. ISBN978-0-89950-618-0. Since The Godfather had earned over $85million in U.S.-Canada rentals (the worldwide box-office gross was $285million), 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 $30million).
Jacobs, Diane (1980). Hollywood Renaissance. Dell Publishing. t.115. ISBN978-0-440-53382-5. The Godfather catapulted Coppola to overnight celebrity, earning three Academy Awards and a then record-breaking $142million in worldwide sales.
Stanley, Robert Henry; Steinberg, Charles Side (1976). The media environment: mass communications in American society. Hastings House. t.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 $10million to produce, has grossed over $110million worldwide.
Pollock, Dale (May 9, 1979). "WB Adds To Its Record Collection". Daily Variety. t.1. "Towering Inferno" did $56,000,000 overseas in billings while "The Exorcist" toted up $46,000,000
New York,8,New York Media,1975,"...Jaws should outstrip another MCA hit, The Sting, which had world-wide revenues of $115million." (Online copy at Google Books)
Hall & Neale 2010, tt.206–208. "The most successful entry in the disaster cycle was the $15million The Towering Inferno which earned over $48,650,000 in domestic rentals and about $40million foreign."
Priggé, Steven (2004). Movie Moguls Speak: Interviews With Top Film Producers. McFarland & Company. t.8. ISBN978-0-7864-1929-6. The budget for the first Jaws was $4million and the picture wound up costing $9million.
Hall & Neale 2010, t.214. "Rocky was the "sleeper of the decade". Produced by UA and costing just under $1million, it went on to earn a box-office gross of $117,235,247 in the United States and $225million worldwide."
Wuntch, Philip (July 19, 1985). "Return of E.T.". The Dallas Morning News. Cyrchwyd March 6, 2012. Its worldwide box-office gross was $619million, toppling the record of $530million set by Star Wars.
Hofler, Robert (2010). Party Animals: A Hollywood Tale of Sex, Drugs, and Rock 'N' Roll Starring the Fabulous Allan Carr. ReadHowYouWant.com. t.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 $341million...
United & Babson Investment Report. 72. Babson-United, Inc. 1980. t.262. Columbia Pictures Industries is continuing to rake in the box office dollars from its Oscar-winning Kramer vs. Kramer, which has topped $100million in domestic grosses and $70million overseas. Kramer, which cost less than $8million 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. t.7. ISBN978-0-520-23266-2. Much of this was attributable to the performance of its hit film, Kramer vs. Kramer ($94million worldwide and the number two film in the domestic market).
Kilday, Greg (May 22, 1992). "Rules of the Game". Entertainment Weekly. Rhif.119. Archifwyd o'r gwreiddiol ar December 25, 2018. Cyrchwyd July 4, 2012.
"Raiders of the Lost Ark (1981)". Box Office Mojo. Cyrchwyd November 4, 2012. Total: $389,925,971; North America: $212,222,025 (original run); Overseas: $141,766,000
Block & Wilson 2010, t.625. Domestic Box office: $180.1; "Production Cost: $22.8 (Initial Release – Unadjusted $s in Millions of $s)."
Block & Wilson 2010, t.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 $664million in worldwide box office on initial release."
Finler 2003, t.268. "The studio had a record operating income of $212million in 1982, the year of Spielberg's E.T. The Extra-Terrestrial (which had cost only slightly over $10million) and $150million in 1985, mainly due to another Spielberg production, the $22million 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 $345million 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). t.9 (TV Plus – The Daily Gazette Supplement). That legacy is the $167,780,960 domestic box-office and $75million foreign gross achieved by the original...
Pre-2022 releases: "Jurassic Park (1993)". Box Office Mojo. Archifwyd o'r gwreiddiol ar 2021-01-26. Cyrchwyd March 7, 2022. Worldwide: $1,033,928,303; Original Release: $912,667,947; Production Budget: $63million
As of 2010: Block & Wilson 2010, tt.756–757. "Production Cost: $70.0 (Unadjusted $s in Millions of $s)... Jurassic Park was a smash at the box office, bringing in $920million in worldwide box office and spawning two sequels."
Total: "The Lion King (1994)". Box Office Mojo. Cyrchwyd January 5, 2023. Worldwide: $968,511,805; Production Budget: $45million
Lifetime grosses (US & Canada): "The Lion King (1994) – Release Summary". Box Office Mojo. Cyrchwyd May 29, 2016. Initial: $312,855,561; IMAX: $15,686,215; 3D: $94,242,001
Lifetime grosses (outside U.S. & Canada): Brevert, Brad (May 29, 2016). "'X-Men' & 'Alice' Lead Soft Memorial Day Weekend; Disney Tops $4 Billion Worldwide". Box Office Mojo. Cyrchwyd May 29, 2016. ...the original release of The Lion King made $450.6million internationally, an additional $3.8million with the 2002 IMAX reissue, and another $91.3million from 2011's 3D reissue for an international total of $545.7million.
As of 2010: Block & Wilson 2010, t.764. "Production Cost: $79.3 (Unadjusted $s in Millions of $s)."
Total: "The Dark Knight (2008)". Box Office Mojo. Cyrchwyd October 5, 2022. Total: $1,006,234,167
Original release (excluding 2009 IMAX reissue): "The Dark Knight". The Numbers. Nash Information Services. LLC. Archifwyd o'r gwreiddiol ar February 8, 2009. Cyrchwyd 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: "Warner Bros. Entertainment Wraps Record-Breaking Year". Warner Bros. January 8, 2009. Archifwyd o'r gwreiddiol ar 2022-06-09. Cyrchwyd April 22, 2016. With worldwide receipts of $997million, "The Dark Knight" is currently fourth on the all-time box office gross list, and the film is being re-released theatrically on January 23.
First-run gross and IMAX reissue: Gray, Brandon (February 20, 2009). "Billion Dollar Batman". Box Office Mojo. Cyrchwyd June 7, 2014. The Dark Knight had been hovering just shy of $1billion for several months and reportedly sat at $997million when Warner Bros. modestly relaunched it on Jan. 23, timed to take advantage of the announcement of the Academy Awards nominations on Jan. 22.
"Frozen (2013) – International Box Office Results". Box Office Mojo. Archifwyd o'r gwreiddiol ar August 9, 2014. Worldwide – $1,274,219,009 (total as of August 8, 2014; including Japanese gross up to August 3, Spanish gross up to July 27, UK gross up to June 8, German gross up to March 30, and omitting Nigerian gross)
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.
Wasko, Janet (1986). "D.W. Griffiths and the banks: a case study in film financing". In Kerr, Paul (gol.). The Hollywood Film Industry: A Reader. Routledge. t.34. ISBN978-0-7100-9730-9. Various accounts have cited $15to$18million 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 $15to$18million box-office gross was a 'conservative estimate'. For years Variety has listed The Birth of a Nation's total rental at $50million. (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 $5million. That figure seems far more feasible, as reports of earnings in the Griffith collection list gross receipts for 1915–1919 at slightly more than $5.2million (including foreign distribution) and total earnings after deducting general office expenses, but not royalties, at about $2million.
The Atlantic Monthly. 231. 1973. t.2. As of the end of 1971, GWTW stood as the all-time money-drawing movie, with a take of $116million, and, with this year's reissues, it should continue to run ahead of the second place contender and all-time kaffee-mit-schlag spectacle.
New Times. 2. 1974. Coppola is King Midas, the most individually powerful U.S. filmmaker." His credits include directing the first Godfather (worldwide earnings: $142million, ahead of Gone with the Wind, The Sound of Music and The Exorcist)... (Online copy at Google Books)
Harmetz, Aljean (May 18, 1980). "The Saga Beyond 'Star Wars'". The New York Times. Archifwyd o'r gwreiddiol ar May 20, 2013. Cyrchwyd January 30, 2012. "Star Wars" has brought 20th Century-Fox approximately $250million in film rentals... "Star Wars" grossed $410million, and his share was enough to allow him to finance its sequel, "The Empire Strikes Back," himself.
Wuntch, Philip (July 19, 1985). "Return of E.T.". The Dallas Morning News. Cyrchwyd March 6, 2012. Its worldwide box-office gross was $619million, toppling the record of $530million set by Star Wars.
Block & Wilson 2010, t.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 $664million in worldwide box office on initial release."