درآمد فیلم‌ها، معمولاً در گیشه، از انتشار نسخهٔ خانگی فیلم‌ها و فروش حق پخش تلویزیونی به‌دست می‌آید. میزان فروش در گیشه، به دلیل دارا بودن سهم عمده، ارزیابی میزان موفقیت با این که در مقایسه با نسخه خانگی و درآمد از حق پخش تلویزیونی را دستی به آن آسان‌تر است، بیشتر مورد توجه قرار می‌گیرد.
بر باد رفته سی وچهار سال رکورد پرفروش‌ترین فیلم جهان را از آن خود کرد و هنوز هم با احتساب تورم این عنوان را داراست.[1]
با وجود این که تورم، موفقیت برخی مجموعه فیلم‌ها در دهه‌های ۶۰ و ۷۰ میلادی را کمرنگ کرده‌است، هنوز مجموعه‌های از آن زمان وجود دارند که ادامه یافته‌اند و فیلم‌هایشان هنوز ساخته می‌شود. فیلم‌های مجموعه‌ای سوپرمن، جیمز باند و پیشتازان فضا به صورت دوره‌ای منتشر می‌شوند.
در این بین نقش تورم و گرانی کمرنگ نیست. به‌طور مثال بر باد رفته که ۳۴ سال پرفروش‌ترین فیلم تاریخ بود، هم‌اکنون در فهرست پرفروش‌ترین‌ها حتی بین ۵۰ فیلم اول هم قرار ندارد. اما با احتساب نرخ تورم، این فیلم همچنان پرفروش‌ترین فیلم تاریخ است.
اولین، سومین و چهارمین فیلم‌های پرفروش جهان، هر سه به نویسندگی و کارگردانی جیمز کامرون است.
آواتار با فروش بیش از ۲٬۹ میلیارد دلار، پرفروش‌ترین فیلم تاریخ است. البته این مبلغ فقط شامل فروش فیلم در سالن‌های سینما است و فروش دی‌وی‌دی‌ها و بخش سینمای خانگی در آن محاسبه نشده است که همین بخش، گاهی بیشتر موفقیت مالی فیلم‌ها را شکل می‌دهد. اگر اطلاعات فروش دی‌وی‌دی‌ها و سینمای خانگی محاسبه شوند، دیگر واضح نیست کدام فیلم پرفروش‌ترین بوده است. تایتانیک ۲۵ میلیون نسخه VHS و ۵ میلیون نسخه دی‌وی‌دی و ۴۰۰ هزار نسخه بلو-ری در آمریکای شمالی فروخت و در نهایت ۱٬۲ میلیارد دلار فروش ویدئو، دی‌وی‌دی، بلو-ری و اجاره فیلم در سراسر جهان داشته[2] و بیش از ۲٬۲ میلیارد دلار در سینماها جهان فروخته است. آواتار ۱۹ میلیون نسخه دی‌وی‌دی و بیش از ۷ میلیون نسخه بلو-ری در آمریکای شمالی فروخت و ۴۰۱ میلیون دلار کسب کرد.[3] در همین حال ۳۰ میلیون نسخه از دی‌وی‌دی و دیسک بلو-ری آن در دیگر نقاط جهان به فروش رفت.[4] با محاسبهٔ فروش سینمای خانگی و اجاره، هر دو فیلم جمعاً ۳ میلیارد دلار درآمد داشته‌اند. پخش تلویزیونی نیز به درآمد فیلم اضافه می‌شود. هر فیلم معمولاً با پخش شدن از چندین شبکه مختلف، حدود ۲۰ تا ۲۵ درصد فروش سینمایی‌اش نصیبش می‌شود.[5]تایتانیک برای پخش شدن از شبکه‌های ان‌بی‌سی و اچ‌بی‌او حدود ۵۵ میلیون دلار به دست آورد،[2] که تقریباً معادل ۹٪ فروشش در آمریکای شمالی است.
وقتی یک فیلم دارای خاصیت بهره‌برداری بسیار بالایی باشد، فروش سینمایی آن می‌تواند در مقابل درآمدهای فرعی آن کم به نظر برسد.[6]شیرشاه حدود ۲ میلیارد دلار در گیشه و سینمای خانگی فروخت،[7] اما اقتباس‌های نمایشی از آن در سرتاسر جهان ۸ میلیارد دلار فروش داشت.[8] همچنین فروش کالاهای مرتبط با فیلم هم می‌تواند اثرگذار باشد: شیرشاه از این راه ۳ میلیارد دلار درآمد کسب کرد،[9] و ماشین‌ها که در سال ۲۰۰۶ منتشر شد و فروش جهانی آن به ۴۶۲ میلیون دلار رسید که در مقایسه با دیگر فیلم‌های پیکسار فروش پایین‌تری داشته[10] ولی پنج سال بعد از انتشار فیلم ۸ میلیارد دلار فقط از راه فروش کالاهای مرتبط با آن به دست آورد.[11][12]داستان اسباب‌بازی ۳ که فیلم دیگری از استودیوی پیکسار است، در کنار فروش ۱ میلیاردی‌اش در گیشه، حدود ۱۰ میلیارد دلار از راه فروش کالا به‌دست‌آورد.[13][14]
در این نمودار، فیلم‌ها بر اساس درآمدهای حاصل از اکران، رتبه‌بندی می‌شوند. شش فیلم در مجموع بیش از ۲ میلیارد دلار در سرتاسر جهان فروش داشته‌اند که آواتار در رتبه اول قرار دارد. همه فیلم‌ها در قرن بیست و یکم اکران سینمایی (از جمله اکران مجدد) داشته‌اند.
فیلم‌هایی را مشخص می‌کند که در حال حاضر در سینماهای سراسر جهان پخش می‌شوند.
Vogel, Harold L. (2010). Entertainment Industry Economics: A Guide for Financial Analysis. Cambridge University Press. p.224. ISBN978-1-107-00309-5. Most pictures would likely receive 20% to 25% of theatrical box office gross for two prime-time network runs.
"نسخه آرشیو شده". Archived from the original on 17 November 2021. Retrieved 24 January 2020.{{cite web}}: نگهداری یادکرد:ربات:وضعیت نامعلوم پیوند اصلی (link)
"نسخه آرشیو شده". Archived from the original on 17 November 2021. Retrieved 6 January 2020.{{cite web}}: نگهداری یادکرد:ربات:وضعیت نامعلوم پیوند اصلی (link)
"نسخه آرشیو شده". Archived from the original on 17 November 2021. Retrieved 6 January 2020.{{cite web}}: نگهداری یادکرد:ربات:وضعیت نامعلوم پیوند اصلی (link)
"نسخه آرشیو شده". Archived from the original on 17 November 2021. Retrieved 6 January 2020.{{cite web}}: نگهداری یادکرد:ربات:وضعیت نامعلوم پیوند اصلی (link)
"نسخه آرشیو شده". Archived from the original on 17 November 2021. Retrieved 6 January 2020.{{cite web}}: نگهداری یادکرد:ربات:وضعیت نامعلوم پیوند اصلی (link)
"نسخه آرشیو شده". Archived from the original on 17 November 2021. Retrieved 6 January 2020.{{cite web}}: نگهداری یادکرد:ربات:وضعیت نامعلوم پیوند اصلی (link)
"نسخه آرشیو شده". Archived from the original on 17 November 2021. Retrieved 6 January 2020.{{cite web}}: نگهداری یادکرد:ربات:وضعیت نامعلوم پیوند اصلی (link)
"نسخه آرشیو شده". Archived from the original on 17 November 2021. Retrieved 6 January 2020.{{cite web}}: نگهداری یادکرد:ربات:وضعیت نامعلوم پیوند اصلی (link)
"نسخه آرشیو شده". Archived from the original on 17 November 2021. Retrieved 6 January 2020.{{cite web}}: نگهداری یادکرد:ربات:وضعیت نامعلوم پیوند اصلی (link)
"نسخه آرشیو شده". Archived from the original on 17 November 2021. Retrieved 6 January 2020.{{cite web}}: نگهداری یادکرد:ربات:وضعیت نامعلوم پیوند اصلی (link)
Shipman, David (1970). The great movie stars: the golden years. Crown Publishing Group. p.98. It was a low budgeter—$120,000—but it grossed world-wide over $3million and made stars of Chaney and his fellow-players, Betty Compson and Thomas Meighan.
(Hall و Neale 2010، ص. 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 . انتشارات دانشگاه کالیفرنیا. p.255. ISBN978-0-520-03068-8. The negative cost was about $986,000, which did not include Fairbanks' own salary. Once the exploitation and release prints were taken into account, Robin Hood cost about $1,400,000—exceeding both Intolerance ($700,000) and the celebrated "million dollar movie" Foolish Wives. But it earned $2,500,000.
Vance, Jeffrey (2008). Douglas Fairbanks. انتشارات دانشگاه کالیفرنیا. p.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 Image, 5 (2): 140–146, doi:10.1353/mov.2005.0033, ISSN1532-3978, S2CID192076406, ...earning somewhere between $18and$22million, depending on the figures consulted
Robertson, Patrick (1991). Guinness Book of Movie Facts and Feats (4ed.). Abbeville Publishing Group. p.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 و Neale 2010، صص. 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 و Neale 2010، ص. 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، ص. 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 و Wilson 2010).
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 و 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. Vol.20. رومن و لیتلفیلد. 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. پالگریو مک‌میلان. p.28. ISBN978-0-312-10067-4. Although costing $1250000—a huge sum for any studio in 1929—the film was a financial success. Karl Thiede gives the domestic box-office at $1500000, and the same figure for the foreign gross.
Cavalcade: p. 182. "Produced by Winfield Sheehan at a cost of $1.25million, 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. p.110. Hughes did not have the "Midas touch" the trade press so often attributed to him. Variety, for example, reported that Hell's Angels cost $3.2million 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 و Wilson 2010، ص. 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. آبرامز بوکز. p.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.
Ramsaye, Terry, ed. (1937). "The All-Time Best Sellers – Motion Pictures". International Motion Picture Almanac 1937–38: 942–943. Kid from Spain: $2,621,000 (data supplied by Eddie Cantor)
Sedgwick, John (2000). Popular Filmgoing In 1930s Britain: A Choice of Pleasures. University of Exeter Press. pp.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 Television. 14 (1): 39. 1933 release: $1,856,000; 1938 release: $306,000; 1944 release: $685,000
"I'm No Angel (1933)– Notes". تی‌سی‌ام. Retrieved 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، ص. 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..."
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."
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 و Wilson 2010).
Phillips, Kendall R. (2008). Controversial Cinema: The Films That Outraged America. ABC-CLIO. p.26. ISBN978-1-56720-724-8. The reaction to West's first major film, however, was not exclusively negative. Made for a mere $200,000, the film would rake in a healthy $2million in the United States and an additional million in overseas markets.
The Merry Widow: p. 361 Cost: $1,605,000. Earnings: domestic $861,000; foreign $1,747,000; total $2,608,000. Loss: $113,000.
San Francisco: p. 364 Cost: $1,300,000. Earnings: domestic $2,868,000; foreign $2,405,000; total $5,273,000. Profit: $2,237,000. [Reissues in 1938–39 and 1948–49 brought profits of $124,000 and $647,000 respectively.]
Dick, Bernard F. (2008). Claudette Colbert: She Walked in Beauty. انتشارات دانشگاهی میسیسیپی. p.79. ISBN978-1-60473-087-6. Although Columbia's president, Harry Cohn, had strong reservations about It Happened One Night, he also knew that it would not bankrupt the studio; the rights were only $5,000, and the budget was set at $325,000, including the performers' salaries.
Monaco, Paul (2010). A History of American Movies: A Film-By-Film Look at the Art, Craft, and Business of Cinema. رومن و لیتلفیلد. p.54. ISBN978-0-8108-7434-3. Considered a highly risky gamble when the movie was in production in the mid-1930s, by the fiftieth anniversary of its 1937 premiere Snow White's earnings exceeded $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". فوکس فیچرز. Archived from the original on 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.
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 و 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 Television. 1 (15): 55–60. doi:10.1080/01439689500260031. ISSN0143-9685. $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 و Wilson 2010).
Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. New York: انتشارات دانشگاه آکسفورد. p.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. Vol.6 of History of the American Cinema. انتشارات دانشگاه کالیفرنیا. p.466. ISBN978-0-520-22130-7. Boom Town ($4.6million).
(Block و Wilson 2010، صص. 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، ص. 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. انتشارات دانشگاه منچستر. pp.94–95. ISBN978-0-7190-4853-1. Mrs Miniver was a phenomenon. It was the most popular film of the year (from any studio) in both North America and Britain, and its foreign earnings were three times higher than those of any other MGM film released in the 1941–42 season. The production cost ($1,344,000) was one of the highest of the season, indicating the studio never thought of the film as a potential loss-maker. When the film earned a worldwide gross of $8,878,000, MGM had the highest profit ($4,831,000) in its history. Random Harvest nearly matched the success of Mrs Miniver with worldwide earnings of $8,147,000 yielding the second-highest profit in MGM's history ($4,384,000). Random Harvest was also the most popular film of the year in Britain, where it proved to be even more popular than Britain's most acclaimed war film, In Which We Serve.
Mrs. Miniver: Burns, Douglas (2010), Mrs. Miniver, p.279, Mrs. Miniver's galvanizing effect on Americans spawned a record-breaking ten-week run at Radio City Music Hall and garnered a $5.4million 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 و Wilson 2010).
"A Guy Named Joe (1944) – Notes". تی‌سی‌ام. Retrieved August 29, 2012. According to M-G-M studio records at the AMPAS Library, the film had a negative cost of $2,627,000 and took in $5,363,000 at the box office. When the picture was re-issued for the 1955–56 season, it took in an additional $150,000.
Schaefer, Eric (1999). "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919–1959. انتشارات دانشگاه دوک. pp.197–199. ISBN978-0-8223-2374-7. Leading the pack of postwar sex hygiene films was Mom and Dad (1944), which would become not only the most successful sex hygiene film in history but the biggest pre-1960 exploitation film of any kind. At the end of 1947, the Los Angeles Times reported that Mom and Dad had grossed $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 و Wilson 2010).
(Hall و Neale 2010، ص. 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. آی بی توریس. p.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. p.110. ISBN978-0-8264-1395-6. Although both films had higher than average budgets (The Red Shoes cost £505,581 and Hamlet cost £572,530, while the average cost of the other thirty films for which Rank supplied information was £233,000), they resulted in high takings at home and abroad.
Samson and Delilah: "...the film became the highest grosser in the studio's history to date, with domestic rentals of $7,976,730 by 1955 and a further $6,232,520 overseas...For all their spectacle, Samson and David were quite economically produced, costing $3,097,563 and $2,170,000 respectively."
Quo Vadis: "Production costs totaled a record $7,623,000...Worldwide rentals totaled $21,037,000, almost half of which came from the foreign market."
Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. انتشارات دانشگاه آکسفورد. p.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.
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. p.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 و Wilson 2010).
(Hall و Neale 2010، ص. 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 و Neale 2010، ص. 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، ص. 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". ورایتی. Retrieved 4 July 2022– via 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 و Wilson 2010، ص. 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 و Neale 2010، ص. 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. انتشارات دانشگاه آکسفورد. pp.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 و Wilson 2010، ص. 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. Vol.14 of Hollywood classics. Lulu. p.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. pp.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 و 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. Retrieved August 15, 2011. Worldwide Box Office: $69,995,385; International Box Office: $32,500,000
U.S. total (including reissues): "Lawrence of Arabia". Boxoffice. Retrieved 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 و Neale 2010، ص. 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 گوگل بوکز)"
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..."[کدامصفحه؟]
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 گوگل بوکز)"
From Russia With Love: "The picture grossed twice as much as Dr. No, both domestic and foreign—$12.5million worldwide (Online copy at گوگل بوکز)"
Goldfinger: "Produced on a budget of around $3million, Goldfinger grossed a phenomenal $46million worldwide the first time around. (Online copy at گوگل بوکز)"
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 و 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. p.325. ISBN978-0-8184-0485-6.
(Hall و Neale 2010، ص. 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[کذا] initial world-wide release, has grossed $23.8million to date...
Murphy, A.D. (October 4, 1967). "The Jungle Book". ورایتی. p.6. Retrieved 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". تی‌سی‌ام. Retrieved 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 (ed.). Stanley Kubrick's 2001: a Space Odyssey: New Essays. انتشارات دانشگاه آکسفورد. p.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.
Welles, Chris (September 7, 1970). "Behind the Silence at Columbia Pictures—No Moguls, No Minions, Just Profits". [[نیویورک (مجله)|]]. Vol.3, no.36. New York Media. pp.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. p.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?". [[نیویورک (مجله)|]]. Vol.9. New York Media. 1976. p.389. Bring those handkerchiefs out of retirement. … After all, the first movie made around $80million worldwide.
(Block و Wilson 2010، ص. 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. Vol.84. 1974. p.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. p.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. انتشارات دل. p.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. p.76. ISBN978-0-8038-4681-4. ...further reflected by the phenomenal successes of The Sting, Chinatown and The Exorcist. The latter film, which cost about $10million to produce, has grossed over $110million worldwide.
Pollock, Dale (May 9, 1979). "WB Adds To Its Record Collection". ورایتی. p.1. "Towering Inferno" did $56,000,000 overseas in billings while "The Exorcist" toted up $46,000,000
New York, vol.8, New York Media, 1975, ...Jaws should outstrip another MCA hit, The Sting, which had world-wide revenues of $115million. (Online copy at گوگل بوکز){{citation}}: External link in |quote= (help)
(Hall و Neale 2010، صص. 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. p.8. ISBN978-0-7864-1929-6. The budget for the first Jaws was $4million and the picture wound up costing $9million.
(Hall و Neale 2010، ص. 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."دالاس مورنینگ نیوز. Retrieved 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. p.145. ISBN978-1-4596-0007-2. Despite the fact that Grease was well on its way to becoming the highest-grossing movie musical in the world, and eventually grossed over $341million...
United & Babson Investment Report. Vol.72. Babson-United, Inc. 1980. p.262. Columbia Pictures Industries is continuing to rake in the box office dollars from its Oscar-winning Kramer vs. Kramer, which has topped $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. انتشارات دانشگاه کالیفرنیا. p.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).
(Block و Wilson 2010، ص. 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، ص. 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 و Wilson 2010).
Scott, Vernon (June 15, 1990). "'Three Men and Baby' Sequel Adds Cazenove to Original Cast". The Daily Gazette. New York. Hollywood (UPI). p.9 (TV Plus – The Daily Gazette Supplement). That legacy is the $167,780,960 domestic box-office and $75million foreign gross achieved by the original...
(Block و Wilson 2010، صص. 694–695). "Production Cost: $55.4 (Unadjusted $s in Millions of $s) … The film went on to haul in over $494million worldwide."
Pre-2022 releases: "Jurassic Park (1993)". باکس آفیس موجو. Archived from the original on 2021-01-26. Retrieved March 7, 2022. Worldwide: $1,033,928,303; Original Release: $912,667,947; Production Budget: $63million
As of 2010: (Block و Wilson 2010، صص. 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."
Lifetime grosses (US & Canada): "The Lion King (1994) – Release Summary". Box Office Mojo. Retrieved 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. Retrieved 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 و Wilson 2010، ص. 764). "Production Cost: $79.3 (Unadjusted $s in Millions of $s)."
Pre-2020 releases: "Titanic (1997)". باکس آفیس موجو. Archived from the original on October 27, 201. Worldwide: $2,187,463,944; Original release: $1,843,221,532; 2012 3D Release: $343,550,770; 2017 Re-release: $691,642
Original release (excluding 2009 IMAX reissue): "The Dark Knight". The Numbers. Nash Information Services. LLC. Archived from the original on February 8, 2009. Retrieved October 28, 2012. North America: $531,039,412 (as of January 22, 2009); Overseas: $466,000,000; IMAX re-release: January 23, 2009
2009 IMAX re-release: "Warner Bros. Entertainment Wraps Record-Breaking Year". برادران وارنر. January 8, 2009. Archived from the original on 9 June 2022. Retrieved 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". باکس آفیس موجو. Retrieved 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". باکس آفیس موجو. Archived from the original on 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.
فیلم‌هایی را مشخص می‌کند که در حال حاضر در سینماهای سراسر جهان پخش می‌شوند.
پرفروش‌ترین فیلم یک فرنچایز را مشخص می‌کند.
