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Film meraup penghasilan dari berbagai media, antara lain bioskop, video rumahan (kaset), hak penyiarantelevisi, dan pernak-pernik. Namun, penghasilan box office bioskop merupakan acuan utama industri dalam menilai kesuksesan sebuah film. Alasannya, data bioskop lebih mudah diakses daripada data penjualan kaset dan hak siar. Selain itu, industri perfilman sudah biasa memakai data bioskop. Artikel ini berisi daftar film peraih box office tertinggi (berdasarkan nilai riil versus nominal penghasilannya), daftar film berpenghasilan tertinggi berdasarkan tahun kalender, urutan peralihan rekor film berpenghasilan tertinggi, dan daftar seri film berpenghasilan tertinggi. Semua daftar diurutkan berdasarkan penghasilan box office bioskop internasional (apabila ada datanya) tanpa menghitung hasil penjualan kaset, hak siar, dan pernak-pernik.
Gone with the Wind memegang rekor film berpenghasilan tertinggi selama 25 tahun. Apabila angkanya disesuaikan dengan inflasi, film ini juga merupakan film berpenghasilan tertinggi sepanjang masa.
Dulu, film perang, musikal, dan drama sejarah merupakan genre yang paling populer, tetapi film berseri menjadi salah satu film terpopuler pada abad ke-21. Penonton sangat tertarik dengan genre pahlawan super. Delapan film Marvel Cinematic Universe masuk daftar nominal ini. Film pahlawan super tersukses, Avengers: Endgame, juga merupakan film berpenghasilan tertinggi kedua dalam daftar nominal. Empat film yang diangkat dari komik Avengers masuk sepuluh besar. Film adaptasi Marvel Comics lainnya juga lumayan sukses, termasuk seri Spider-Man dan X-Men, sedangkan film-film yang diangkat dari komik Aquaman, Batman, dan Superman karya DC Comics cukup bagus performanya. Masing-masing empat film Star Wars dan seri Middle-earth karya Peter Jackson juga masuk daftar nominal, sedangkan seri Harry Potter, Jurassic Park, dan Pirates of the Caribbean mendominasi daftar ini. Avatar, peringkat pertama di daftar nominal, merupakan film berpenghasilan tertinggi yang bukan karya adaptasi ataupun sekuel. Film animasi keluarga selalu stabil penghasilannya; film-film Disney sering ditayangkan ulang di bioskop sebelum teknologi video rumahan muncul. Disney juga sukses besar berkat film Frozen, Frozen II, Zootopia, dan The Lion King (bersamaan dengan pembuatan ulang animasi komputernya), serta film-film di bawah merek Pixar, antara lain Inside Out 2 (film animasi berpenghasilan tertinggi), Incredibles 2, dan Toy Story 3 dan 4. Seri Despicable Me, Shrek, dan Ice Age menjadi seri non-Disney dengan performa terbaik.
Meski prestasi sebagian besar film tahun 1960-an dan 1970-an terkikis oleh inflasi, masih ada seri film zaman itu yang dilanjutkan sampai sekarang. Selain seri Star Wars dan Superman, film-film James Bond dan Star Trek masih dirilis secara rutin; keempat judul tersebut merupakan seri-seri film berpenghasilan tertinggi. Beberapa film lama yang memegang rekor film berpenghasilan tertinggi masih mempertahankan rekornya menurut standar masa kini, tetapi secara nominal dikalahkan oleh film-film top masa kini yang mendulang hasil dari naiknya harga tiket penonton. Apabila disesuaikan dengan inflasi, secara komparatif, Gone with the Wind—pemegang rekor film berpenghasilan tertinggi selama 25 tahun—masih merupakan film berpenghasilan tertinggi sepanjang masa. Semua penghasilan di daftar ini memakai kurs dolar Amerika Serikat dalam nilai nominal, kecuali penghasilan yang diberi keterangan tambahan.
Tiga dari empat film berpenghasilan tertinggi, termasuk Avatar di urutan teratas, ditulis dan disutradarai oleh James Cameron.
Dengan penghasilan box office global lebih dari $2,9miliar, Avatar menjadi film "berpenghasilan tertinggi", tetapi klaim ini biasanya hanya mengacu kepada penghasilan dari bioskop tanpa menghitung hasil penjualan kaset dan hak siar televisi (porsinya cukup besar dalam total penghasilan film). Apabila hasil penjualan kaset juga dihitung, film mana yang paling sukses tidak bisa langsung ditentukan. Titanic meraup $1,2miliar dari penjualan dan penyewaan video dan DVD,[1] ditambah $2,2miliar dari hasil penjualan tiket. Meski total hasil penjualan Avatar belum diketahui, film ini mendapatkan $345juta lewat penjualan 16juta keping DVD dan Blu-ray di Amerika Utara[2] dengan total penjualan 30juta keping DVD dan Blu-ray di seluruh dunia.[3] Apabila hasil penjualan kaset dihitung, dua film ini masing-masing meraup lebih dari $3miliar. Hak penyiaran televisi juga berkontribusi besar terhadap penghasilan film. Penjualan hak siar televisi ditambah hasil sewa film (pay-per-view) biasanya setara dengan 20–25% penghasilan box office;[4]Titanic mendapatkan $55juta dari hak siar NBC dan HBO,[1] setara dengan 9% penghasilan kotornya di Amerika Utara.
Apabila sebuah film sangat mudah dieksploitasi sebagai barang komersial, penghasilan tambahannya bisa mengalahkan hasil penjualan langsung.[5]The Lion King menghasilkan lebih dari $2miliar lewat pemutaran bioskop dan penjualan kaset,[6] tetapi dikalahkan oleh $6miliar yang dihasilkan lewat pemutaran adaptasi musikalnya di bioskop-bioskop di seluruh dunia.[7]Pernak-pernik juga sangat menguntungkan: The Lion King mendapatkan $3miliar lewat penjualan pernak-pernik,[8] sedangkan Cars—$462juta lewat pemutaran bioskop dan dianggap biasa saja bila dibandingkan dengan film Pixar lainnya[9]—meraup lebih dari $8miliar lewat penjualan pernak-pernik di seluruh dunia lima tahun setelah dirilis tahun 2006.[10][11] Pixar mencetak rekor lagi melalui Toy Story 3, film yang menghasilkan hampir $10miliar lewat penjualan pernak-pernik ditambah $1miliar dari pemutaran bioskop.[12]
Di daftar ini, film diurutkan berdasarkan penghasilan dari pemutaran bioskop dalam nilai nominal dan peringkat tertinggi yang dicapai. Secara keseluruhan, 39 film meraup lebih dari $1miliar di seluruh dunia, lima di antaranya meraup lebih dari $2miliar, dipuncaki oleh Avatar. Semua film ditayangkan (dan ditayangkan ulang) di bioskop pada abad ke-21. Film-film yang tidak diputar pada abad tersebut tidak masuk daftar karena terkena inflasi harga tiket. Jumlah penduduk dan tren membeli tiket tidak dipertimbangkan.
† Latar berwarna berarti film masih diputar satu pekan sejak 14 November 2024 di bioskop di seluruh dunia.
TTotal yang diberikan untuk Titanic di Box Office Mojo dan The Numbers keduanya salah. Sebelum dirilis ulang pada tahun 2023, jumlah total di kedua pelacak meningkat di atas angka sebenarnya.
Pada tahun 2019, Box Office Mojo dengan tepat mencatat bahwa Titanic telah meraup $1,843 miliar pada rilis aslinya, $344 juta dari penerbitan ulang 3D pada tahun 2012, dan tambahan $692.000 dari rilis terbatas pada tahun 2017 dengan total seumur hidup sebesar $2,187 miliar.[14] Setelah rilis ulang terbatas pada tahun 2020, Box Office Mojo secara keliru menambahkan $7 juta ke total rilis aslinya.[15] Pada akhir tahun 2021, Box Office Mojo telah mengoreksi total rilis aslinya, tetapi menambahkan angka $7 juta ke total rilis ulang tahun 2012 dan 2017, sehingga secara keliru meningkatkan total seumur hidup sebesar $14 juta menjadi $2,202 miliar.[16] Pada awal tahun 2023, Box Office Mojo mengoreksi total pendapatan kotor yang diterbitkan ulang pada tahun 2017, sehingga pendapatan kotor seumur hidup turun menjadi $2,195 miliar, tetapi tetap mempertahankan kesalahan pada penerbitan ulang tahun 2012.[17]
The Numbers tidak mencatat rilis individual, namun mencatat total seumur hidup sebesar $2,186 miliar pada bulan September 2014 (kira-kira setara dengan $1,843 miliar untuk rilis asli dan $343,6 juta untuk rilis ulang 3D).[18] Beberapa minggu kemudian, The Numbers meningkatkan pendapatan kotor seumur hidup menjadi $2,208 miliar, tanpa penjelasan.[19]
FBox Office Mojo tidak lagi memperbarui total penghasilan utama Frozen pada bulan Agustus 2014, padahal masih diputar. Total yang dicantumkan di sini mencakup penghasilan di Jepang, Nigeria, Spanyol, Britania Raya, dan Jerman hingga akhir 2015, tetapi tidak mencakup penghasilan di Turki, Islandia, Brasil, dan Australia (2016) yang mencapai sekian ratus ribu dolar. Film ini ditayangkan ulang di Britania Raya pada Desember 2017; Olaf's Frozen Adventure meraup $2,3 juta lagi di negara itu. Totalnya dibulatkan menjadi $1juga karena memperhitungkan ketidakakuratan angka. F8Penghasilan kotor The Fate of the Furious diambil dari BoxOffice alih-alih sumber utama daftar ini, Box Office Mojo, karena ada anomali dalam jumlah Box Office Mojo. Penurunan total hasil mingguan di beberapa negara—paling parah di Argentina—memicu penurunan total global.[20] Karena ada dugaan anomali di sumber, daftar ini juga menyertakan angka alternatif. TS3Box Office Mojo merevisi penghasilan kotor film-film Pixar pada Agustus 2016. Karena itu, penghasilan kotor Toy Story 3 dikoreksi dari $1,063miliar menjadi $1,067miliar.[21][22] Artinya, film ini menempati posisi #4 pada akhir masa rilisnya, bukan #5, sesuai yang tercantum dalam sumber. PSAngka Harry Potter and the Philosopher's Stone adalah penghasilan box office dini yang pada tahun 2001 merupakan angka tertinggi kedua setelah Titanic. Angka Jurassic Park lebih tinggi daripada angka Harry Potter and the Philosopher's Stone karena ditambah hasil penayangan ulang 3-D tahun 2013. DM2Disney merilis perbaikan penghasilan kotor The Lion King dari $987,5juta menjadi $968,5juta.[23] Artinya, Despicable Me 2 naik satu tingkat pada akhir masa rilisnya.
Tingkat inflasi di seluruh dunia bervariasi sehingga mempersulit penyesuaian inflasi.
Karena dampak inflasi berjangka panjang, terutama kenaikan pesat harga tiket bioskop, daftar yang tidak disesuaikan dengan inflasi lebih memihak kepada film-film baru.[24] Daftar yang belum disesuaikan, sering dijumpai di media massa, tidak berguna apabila ingin membandingkan film-film yang rentang tahunnya jauh. Karena itu, banyak film-film lama yang tidak muncul lagi di daftar modern yang belum disesuaikan, padahal pendapatan komersialnya lebih tinggi apabila disesuaikan dengan kenaikan harga tiket.[25] Untuk menutup penurunan nilai mata uang (devaluasi), beberapa tabel menyesuaikan datanya dengan inflasi. Namun, penyesuaian inflasi pun tidak sepenuhnya mengatasi masalah ini karena harga tiket dan inflasi tidak selalu sejalan. Contohnya, pada tahun 1970, harga tiket adalah $1,55, sekitar $6,68 menurut nilai dolar 2004 sesuai inflasi; pada tahun 1980, harganya naik menjadi $2,69, turun menjadi $5,50 menurut nilai dolar 2004 sesuai inflasi.[26] Harga tiket juga naik mengikuti variasi inflasi di berbagai negara sehingga mempersulit penyesuaian penghasilan kotor global.[24]
Hambatan lain adalah perilisan film dalam berbagai format dengan harga tiket yang berbeda. Contohnya, Avatar dirilis dalam format 3D dan IMAX: hampir dua per tiga tiket film ini berasal dari penayangan 3D dengan harga rata-rata $10, sedangkan seperenam lainnya berasal dari penayangan IMAX dengan harga rata-rata di atas $14.50, berbeda dengan harga rata-rata $7,61 untuk penayangan 2D tahun 2010.[27] Faktor sosial dan ekonomi seperti perubahan jumlah penduduk[28] dan pertumbuhan pasar internasional[29][30][31] turut memengaruhi jumlah orang yang membeli tiket bioskop, demografi penonton (beberapa film menjual lebih banyak tiket diskon untuk anak-anak), atau kelarisan/popularitas film di kota-kota besar yang harga tiketnya lebih mahal.[25]
Sistem pengukuran keberhasilan sebuah film didasarkan pada penghasilan kotor tanpa penyesuaian. Alasannya, sistemnya memang seperti ini dari dulu mengikuti praktik industri perfilman: hasil penjualan tiket dihitung per bioskop dan diteruskan ke distributor, kemudian distributor merilis totalnya ke media massa.[32] Beralih ke sistem yang lebih adil yang menghitung penjualan tiket alih-alih hitungan kotor belum tentu cocok karena satu-satunya data yang tersedia untuk film lama adalah total penjualan tiket.[28] Karena industri perfilman semakin mengutamakan pemasaran film-film yang baru dirilis, angka tanpa penyesuaian selalu dipakai di iklan-iklan supaya film blockbuster baru bisa meningkatkan penjualannya secara pesat dan merebut gelar "film top sepanjang masa".[26][33] Karena itu, sedikit sekali alasan untuk beralih ke sistem yang lebih ajeg dari sudut pandang pemasaran maupun pemberitaan.[32]
Meski ada penyesuaian inflasi agak menyulitkan, sejumlah pihak berusaha melakukannya. Perkiraan bergantung kepada indeks harga yang dipakai untuk menyesuaikan penghasilan kotor,[33] lalu nilai tukar yang dipakai untuk menukarkan mata uang juga dapat memengaruhi penghitungan, keduanya dapat memengaruhi peringkat akhir dalam daftar yang sesuai inflasi. Gone with the Wind—pertama dirilis tahun 1939—diakui secara luas sebagai film tersukses sepanjang masa. Pada tahun 2014, Guinness World Records memeprkirakan penghasilan kotor globalnya sesuai inflasi mencapai $3,4miliar. Perkiraan penghasilan kotor sesuai inflasi Gone with the Wind sangat bervariasi; pemiliknya, Turner Entertainment, memperkirakan penghasilan sesuai inflasinya $3,3miliar pada 2007, beberapa tahun sebelum Guinness;[34] perkiraan lainnya mencantumkan antara dua angka tersebut, ada yang mencantumkan kurang dari $3miliar tahun 2010,[35] dan ada yang mencantumkan $3,8miliar tahun 2006.[36] Film pesaing Gone with the Wind bergantung kepada angka yang digunakan: Guinness meletakkan Avatar di peringkat kedua dengan penghasilan $3miliar, sedangkan perkiraan lain meletakkan Titanic di peringkat kedua dengan penghasilan penayangan perdana global hampir $2,9miliar menurut harga tahun 2010.[35]
Informasi lebih lanjut Rank, Title ...
Film berpenghasilan tertinggi hingga 2022[update] sesuai inflasi[37][Inf]
InfPenyesuaian inflasi menggunakan indeks harga konsumen negara-negara maju versi Dana Moneter Internasional.[38] Indeks ini digunakan secara seragam ke semua penghasilan kotor di daftar Guinness World Records tahun 2014, dimulai dengan indeks 2014. Angka di tabel di atas mempertimbangkan inflasi tahun 2014 dan seterusnya.
TTotal penghasilan sesuai inflasi Titanic menurut Guinness naik $102.000.000 antara edisi 2012 (terbit tahun 2011) dan edisi 2015, kenaikan sebesar 4,2% diterapkan ke total penghasilan sesuai inflasi lainnya di tabel di atas dan tidak menghitung penghasilan kotor dari penayangan ulang 3D tahun 2012.[37][39] Tabel ini menyertakan penghasilan kotor sebesar $343.550.770 dari penayangan ulang dan menyesuaikan inflasinya dari indeks tahun 2014.[40] Penghasilan Titanic bertambah $691.642 setelah penayangan ulang terbatas dalam rangka ulang tahun ke-20 tahun 2017, tetapi angkanya tidak dihitung dalam total penghasilan sesuai inflasi.[41]
AEKarena Avengers: Endgame dirilis tahun 2019, penghasilan kotornya tidak mengalami penyesuaian inflasi.
Glosarium: Sewa distributor
Angka box office dilaporkan dalam bentuk penghasilan kotor atau sewa distributor (distributor rentals). Sewa distributor lumrah di film-film lama. Orang sering salah mengira sewa sebagai penghasilan kaset. Sewa adalah porsi distributor dari total penghasilan film di bioskop. Singkatnya, penghasilan kotor box office dikurangi porsi bioskop.[42][43] Harga sewa dari dulu berkisar 30–40% apabila distributornya memiliki jaringan bioskop, kurang lebih sepertiga penghasilan kotor yang dibayarkan ke distributor film.[44] Di pasar modern, harga sewa bisa bervariasi jauh—ada beberapa faktor—tetapi harga sewa film-film dari studio besar rata-rata 43%.[42]
Selera penonton cukup beragam pada abad ke-20, tetapi ada beberapa tren yang berkembang. Pada masa film bisu, film-film bertema perang sangat digemari penonton. The Birth of a Nation (Perang Saudara Amerika Serikat), The Four Horsemen of the Apocalypse, The Big Parade, dan Wings (tiga-tiganya Perang Dunia I) menjadi film tersukses pada masing-masing tahun rilisnya. Tren film perang ini ditutup oleh All Quiet on the Western Front tahun 1930. Seiring munculnya film bersuara tahun 1927, musikal—genre yang cocok untuk memamerkan teknologi baru ini—menjadi jenis film yang paling populer. 1928 dan 1929 dikuasai oleh film musikal. Genre ini terus bertahan pada 1930-an, tetapi Perang Dunia II kembali memopulerkan film-film bertema perang, dimulai oleh Gone with the Wind (Perang Saudara AS) tahun 1939 dan ditutup oleh The Best Years of Our Lives (Perang Dunia II) tahun 1946. Samson and Delilah (1949) merintis tren drama sejarahRomawi Kuno/Kristen pada 1950-an ketika bioskop dan televisi berlomba-lomba menarik perhatian penonton.[45]Quo Vadis, The Robe, The Ten Commandments, Ben-Hur, dan Spartacus menjadi film berpenghasilan tertinggi pada masanya saat penayangan perdana. Genre ini perlahan ditinggalkan setelah sejumlah film besar merugi.[46] Kesuksesan White Christmas dan South Pacific tahun 1950-an menjadi awal kebangkitan musikal pada tahun 1960-an. West Side Story, Mary Poppins, My Fair Lady, The Sound of Music, dan Funny Girl menjadi film tersukses dalam dekade itu. Tahun 1970-an, selera penonton beralih ke film-film konsep tinggi. Enam film besutan George Lucas atau Steven Spielberg menjadi film tersukses sepanjang 1980-an. Pada abad ke-21, industri perfilman semakin bergantung kepada seri dan adaptasi. Film-film box office didominasi oleh film yang diangkat dari kekayaan intelektual yang sudah terbit lebih dulu.[47]
Film-film yang disutradarai Steven Spielberg sudah enam kali menyandang gelar "film berpenghasilan tertinggi tahun ini" dan tiga kali memegang gelar "film berpenghasilan tertinggi sepanjang masa".
Steven Spielberg adalah sutradara yang paling banyak terwakili di tabel ini (6 film) dan menempati peringkat pertama tahun 1975, 1981, 1982, 1984, 1989, dan 1993. Cecil B. DeMille (1932, 1947, 1949, 1952, dan 1956) dan William Wyler (1942, 1946, 1959, dan 1968) masing-masing menempati peringkat kedua (5 film) dan ketiga (4 film), sedangkan D. W. Griffith (1915, 1916, dan 1920), George Roy Hill (1966, 1969, dan 1973), James Cameron (1991, 1997, dan 2009), dan Russo Brothers (2016, 2018, dan 2019) masing-masing diwakili oleh 3 film. George Lucas menyutradarai dua film di tabel ini tahun 1977 dan 1999, tetapi juga menjabat sebagai produser dan penulis naskah untuk film tahun 1980, 1981, 1983, 1984, dan 1989. Sutradara berikut ini juga menyutradarai dua film di tabel ini: Frank Lloyd, King Vidor, Frank Capra, Michael Curtiz, Leo McCarey, Alfred Hitchcock, David Lean, Stanley Kubrick, Guy Hamilton, Mike Nichols, William Friedkin, Peter Jackson, Gore Verbinski, dan Michael Bay; Mervyn LeRoy, Ken Annakin, dan Robert Wise masing-masing diwakili oleh satu film solo dan satu film bersama, sedangkan John Ford menyutradarai dua film. Film-film Disney biasanya disutradarai beberapa orang. Sejumlah sutradara pernah terlibat dalam produksi film berpenghasilan tertinggi: Wilfred Jackson, Hamilton Luske, Clyde Geronimi, David Hand, Ben Sharpsteen, Wolfgang Reitherman, dan Bill Roberts menyutradarai sedikitnya dua film dalam tabel ini. Hanya tujuh sutradara yang berturut-turut memegang gelar film berpenghasilan tertinggi: McCarey (1944 dan 1945), Nichols (1966 dan 1967), Spielberg (1981 dan 1982), Jackson (2002 dan 2003) Verbinski (2006 dan 2007), dan Russo Brothers (2018 dan 2019).
Karena ada beberapa jadwal rilis—apalagi ketika filmnya dirilis menjelang akhir tahun—dan pola rilis di seluruh dunia, banyak film yang masa rilisnya merentang selama dua tahun kalender atau lebih. Lantas, penghasilan kotor yang dicantumkan di sini tidak terbatas kepada tahun rilisnya. Penghasilan kotor juga tidak terbatas kepada penayangan perdananya di bioskop. Film lama biasanya dirilis ulang secara rutin sehingga angka di tabel mencakup seluruh masa rilis film sejak penayangan perdana; penghasilan kotor perdana film dicantumkan dalam kurung setelah totalnya (jika diketahui). Karena datanya tidak lengkap, jumlah uang yang dihasilkan dan masa penghasilan beberapa film tidak bisa dipastikan. Namun, tabel ini secara umum merunut film-film yang meraup penghasilan tertinggi setiap tahun. Apabila perkiraannya saling berseberangan, kedua film akan dicantumkan. Apabila sebuah film masuk peringkat pertama karena dirilis ulang, pemegang rekor sebelumnya juga dicantumkan.
film masih diputar di bioskop di seluruh dunia satu pekan sejak 14 November 2024.
Informasi lebih lanjut Tahun, Judul ...
Film berpenghasilan tertinggi menurut tahun penayangan[48][49][50]
(...) Karena penghasilan kotor tidak terbatas kepada penayangan perdananya di bioskop, penghasilan kotor perdana film dicantumkan dalam kurung setelah totalnya (jika diketahui).
*Penghasilan kotor Kanada dan Amerika Serikat saja.
RSewa distributor.
INTidak ada sumber waktu itu yang mencantumkan penghasilan 20,000 Leagues Under the Sea, tetapi The Numbers memperkirakan penghasilan kotor box office di Amerika Utara mencapai $8.000.000.[51] Namun, angka ini bisa jadi salah diambil dari penghasilan kotor film versi baru tahun 1954 yang juga meraup $8.000.000 sebagai hasil sewa di Amerika Utara.[52]
FHSejumlah sumebr seperti The Numbers menyatakan bahwa Aloma of the South Seas adalah film berpenghasilan tertinggi tahun itu dengan total $3juta.[53] Akan tetapi, tidak ada sumber waktu itu yang mencantumkan penghasilan Aloma of the South Seas. Jadi, tidak jelas dari mana $3juta itu. Kalau itu penghasilan kotor sewa, maka film ini bukan saja film berpenghasilan tertinggi tahun itu, tetapi juga salah satu film berpenghasilan tertinggi sepanjang zaman film bisu. Apabila benar demikian, ini tidak lazim karena International Motion Picture Almanac dan Variety tidak mencantumkannya di daftar mereka.
SSBelum jelas apakah angka Sunny Side Up untuk Amerika Utara saja atau global. Sumber lain mencantumkan $2juta.[54] Artinya, angka yang lebih tinggi ini mungkin merupakan hasil sewa global karena penghitungan hasil internasional waktu itu masih belum mapan.[55]
ONAngka It Happened One Night tidak benar-benar mencerminkan kesuksesannya: film ini didistribusikan dengan cara dipaketkan dengan lebih dari dua puluhan film Columbia lainnya dan total penghasilannya dirata-ratakan; penghasilan kotor sejatinya bisa jadi lebih tinggi.
S7Penghasilan kumulatif global sebesar $418juta yang diterima Snow White tidak mencakup penghasilan di luar Amerika Utara sejak 1987 sampai seterusnya.
GWPenghasilan Gone with the Wind dari penayangan perdananya tidak bisa dipastikan. Rata-rata catatan masa itu mencantumkan hasil sewa $32juta di Amerika Utara. Catatan modern mengulang klaim tersebut; namun, angka tersebut bisa jadi angka hasil sewa global. Catatan dagang mengolah data dengan mendapatkannya dari distributor yang ingin memasarkan film sukses atau menyurvei bioskop dan membuat perkiraan. Distributor biasanya melaporkan harga sewa global karena angka yang lebih tinggi membuat film ini seolah sukses, sedangkan perkiraan hanya terbatas pada penghasilan di Amerika Utara; karena itu, sudah biasa apabila hasil sewa global dan Amerika Utara bercampur. Pada awal Perang Dunia II, banyak pasar asing tertutup bagi Hollywood sehingga industri perfilman mulai melaporkan penghasilan box office Amerika Utara saja.[55] Sesuai pendekatan baru ini, harga sewa Gone with the Wind di Amerika Utara direvisi menjadi $21juta tahun 1947 ($11juta lebih sedikit daripada angka sebelumnya),[56] dan pada 1953—usai penayangan ulang 1947—Variety melaporkan penghasilan $26juta.[57] Pada 1956, MGM melaporkan penghasilan kumulatif Amerika Utara sebesar $30.015.000 dan penghasilan luar negeri sebesar $18.964.000 dari tiga film.[58] Hasil sewa global senilai $32juta dari penayangan perdananya cocok dengan angka yang direvisi dan angka global yang dilaporkan: angka-angka ini menunjukkan bahwa film ini meraup $21juta di Amerika Utara dan $11juta di luar negeri lewat penayangan perdana, ditambah $9juta di Amerika Utara dan $8juta di luar negeri lewat serangkaian penayangan ulang hingga tahun 1956.
MDMom and Dad umumnya tidak masuk daftar 'film berpenghasilan tinggi' seperti daftarnya Variety karena distribusinya independen. Film ini pada dasarnya tergolong film eksploitasi dan dipasarkan sebagai film pendidikan seks untuk mengakali sensor film. Karena berselisih dengan Motion Picture Production Code, Mom and Dad dilarang beredar besar-besaran dan dibatasi untuk tayang di bioskop independen dan bioskop mobil. Ini adalah film tersukses di genrenya dan masih beredar hingga 1970-an ketika pornografi radikal mulai berkembang. Pada penghujung 1947, film ini meraup $2juta. Tahun 1949, $8juta. Tahun 1956, film ini mendapat $22juta dari hasil sewa dengan penghasilan kotor $80juta dan seharusnya bisa masuk sepuluh film tersukses pada akhir 1940-an dan awal 1950-an. Penghasilan totalnya diperkirakan mencapai $100juta.
UNChopra-Gant menyatakan bahwa angka Unconquered adalah penghasilan box office Amerika Utara, tetapi tabel yang mereka gunakan tidak memisahkan penghasilan kotor global dan Amerika Utara. Sumber lain menyatakan bahwa angka Forever Amber ($8juta) dan Life with Father ($6,5juta)[59] sebenarnya merupakan penghasilan kotor sewa global. Jadi, angka Unconquered bisa jadi berarti itu.
CIAngka Cinerama mencerminkan penghasilan kotor. Karena Cinerama memiliki bioskop, tidak ada harga sewa untuk film. Artinya, studio menerima 100% penghasilan kotor box office, berbeda dengan rata-rata film lain yang pendapatan distributornya tidak sampai separuh penghasilan kotor. Karena Variety waktu itu memeringkatkan film berdasarkan hasil sewa AS, mereka membuat perkiraan hasil sewa untuk film-film Cinerama supaya bisa dibandingkan dengan film-film lain di tabel mereka. Dalam This Is Cinerama, penghasilan kotor global $50juta diperbaiki menjadi penghasilan kotor sewa AS $12.5juta; angka ini 25% dari jumlah yang dilaporkan Cinerama. Rumus Variety tampaknya memangkas separuh penghasilan kotor untuk mengetahui perkiraan AS, lalu memangkasnya lagi separuh untuk menyimulasikan harga sewa. Angka sewa Variety sering diulang, tetapi tidak ada dasarnya—angka ini dikarang-karang untuk keperluan analisis perbandingan.[60] Kelima film Cinerama secara keseluruhan meraup penghasilan box office global sebesar $120juta.[61]
GSVariety menyatakan hasil sewa global The Greatest Show on Earth sekitar $18,35juta ($12,8juta di antaranya berasal dari Amerika Serikat[52]) satu tahun usai dirilis. Namun, Birchard mencantumkan angka di atas $15juta hingga 1962. Angka Birchard bisa jadi hasil sewa kotor Amerika Utara saja dan mencakup penghasilan dari penayangan ulang tahun 1954 dan 1960.
SWPenghasilan kotor "penayangan perdana" Star Wars tidak mencakup penghasilan dari penayangan edisi khusus tahun 1997. Akan tetapi, angka ini tidak mencakup penghasilan dari penayangan ulang sebelum edisi khusus.
HPBiaya produksi dibagi dengan Harry Potter and the Deathly Hallows– Part 1.
The Birth of a Nation adalah pelopor berbagai teknik pembuatan film yang masih dipakai hingga sekarang dan merupakan film tersukses sepanjang masa ketika pertama kali dirilis.
Sedikitnya sebelas film memegang rekor 'film berpenghasilan tertinggi' sejak The Birth of a Nation menempati peringkat pertama pada tahun 1915. The Birth of a Nation dan Gone with the Wind masing-masing bertahan sebagai film berpenghasilan tertinggi selama 25 tahun berturut-turut. Rekor ini juga dipegang tiga kali oleh film-film Steven Spielberg dan dua kali oleh film-film James Cameron. Spielberg menjadi sutradara pertama yang memecahkan rekornya sendiri ketika Jurassic Park mengalahkan E.T.. Cameron mengulangi hal yang sama ketika Avatar mengalahkan rekor Titanic. Saat merebut peringkat pertama tahun 2019, Avengers: Endgame menjadi film sekuel pertama yang memegang rekor film berpenghasilan tertinggi. Dengan demikian, berakhir pula dominasi Spielberg/Cameron selama 36 tahun.
Beberapa sumber mengklaim The Big Parade mengalahkan The Birth of a Nation sebagai film berpenghasilan tertinggi, lalu digantikan oleh Snow White and the Seven Dwarfs yang tidak lama kemudian digeser oleh Gone with the Wind.[62] Penghasilan pasti The Birth of a Nation tidak diketahui, tetapi penghasilan globalnya diperkirakan mencapai $5,2juta tahun 1919 menurut perkiraan modern.[63] Penayangan luar negerinya tertunda akibat Perang Dunia I. Film ini baru dirilis di luar negeri tahun 1920-an; dengan menghitung penayangan perdana beruntun di Amerika Serikat, penghasilan $10juta yang dilaporkan Variety tahun 1932 cocok dengan perkiraan di atas.[64] Waktu itu, Variety mencantumkan The Birth of a Nation di atas The Big Parade ($6.400.000) menurut hasil sewa distributor dan—jika perkiraannya betul—Snow White and the Seven Dwarfs ($8.500.000)[65] tidak meraup penghasilan yang cukup dalam satu pekan pertamanya untuk menyandang gelar ini;[66] tetapi film ini berpotensi menjadi film bersuara (talkie) berpenghasilan tertinggi dan[67] menggeser The Singing Fool ($5.900.000).[68] Meski publik yakin The Birth of a Nation tidak mungkin dikalahkan oleh film bisu,[69] rekornya akan jatuh ke tangan Ben-Hur keluaran 1925 ($9.386.000) jika penghasilan The Birth of a Nation jauh lebih sedikit daripada perkiraan penghasilan kotornya.[70] Selain penghasilan sewa kotor lewat penayangan publik, The Birth of a Nation diputar di sejumlah acara pribadi, klub, dan organisasi yang hasil penjualannya tidak diketahui.[71] Film ini sangat populer di kalangan anggota Ku Klux Klan yang memanfaatkannya sebagai sarana perekrutan.[72]Variety pernah memperkirakan total penghasilan film ini kurang lebih $50juta.[73] Walaupun klaimnya sudah dicabut, angka ini masih dilaporkan oleh media massa sekalipun tidak ada buktinya.[63] Meski publik mengakui Gone with the Wind sebagai film berpenghasilan tertinggi saat penayangan perdananya—benar dalam konteks penayangan publik—total penghasilannya mungkin tidak melampaui The Birth of a Nation sampai beberapa tahun berikutnya; film ini masih dinyatakan sebagai film berpenghasilan tertinggi sampai 1960-an.[71]Gone with the Wind sendiri mungkin sempat dikalahkan oleh The Ten Commandments (1956) yang terakhir tayang pada akhir 1960 dengan pendapatan sewa global $58–60juta[74][75] berbeda dengan Gone with the Wind yang mendapatkan $59juta;[76] apabila benar menduduki posisi pertama, The Ten Commandments tidak bertahan lama karena Gone with the Wind dirilis lagi tahun berikutnya dan menambah penghasilannya menjadi $67juta. Tergantung keakuratan perkiraannya, Ben-Hur versi baru tahun 1959 mungkin juga menyabet rekor ini dari Gone with the Wind: pada akhir 1961, film ini meraup $47juta di seluruh dunia,[77] dan pada 1963, film ini berada di posisi kedua setelah Gone with the Wind dengan selisih $2juta dan penghasilan internasional $65juta,[78] pada akhirnya meraup $66juta dari penayangan perdananya.[79]
Film pornografi Deep Throat (1972) kabarnya meraup $600juta, angka yang diduga dilebih-lebihkan oleh mafia dalam skema pencucian uang.
Film lain yang diklaim sebagai film berpenghasilan tertinggi adalah film pornografiDeep Throat (1972). Pada tahun 1984, Linda Lovelace bersaksi di hadapan Subkomite Kehakiman Senat Amerika Serikat Bidang Hukum Di Bawah Umur bahwa film ini meraup $600juta;[80] angka ini menuai banyak perdebatan karena apabila benar, penghasilan film ini melampaui Star Wars sehingga Deep Throat menjadi film berpenghasilan tertinggi sampai akhir 1970-an. Pendapat utama yang membantah angka tersebut adalah film ini tidak dirilis secara luas sehingga penghasilan kotor sebesar itu tidak mungkin terwujud.[81] Angka pastinya tidak diketahui, tetapi kesaksian dalam persidangan federal tahun 1976—empat tahun setelah film dirilis—menunjukkan film ini menghasilkan lebih dari $25juta.[82]Roger Ebert mengira film ini mungkin menghasilkan $600juta di atas kertas karena mafia memegang kepemilikan bioskop dewasa waktu itu dan akan mencuci uang obat-obatan terlarang dan prostitusi di bioskop. Mafia mungkin saja melebih-lebihkan pendapatan box office film ini.[83]
The Birth of a Nation, Gone with the Wind, The Godfather, Jaws, Star Wars, E.T., dan Avatar menaikkan rekor penghasilan kotornya lewat penayangan ulang. Penghasilan kotor dari penayangan perdananya dihitung di tabel ini ditambah total penghasilan dari penayangan ulang hingga rekornya tergeser; karena itu, total penghasilan The Birth of a Nation mencakup penayangan ulang akhir 1970-an dan awal 1980-an, kecuali edisi khusus tahun 1997; total penghasilan E.T. mencakup penayangan ulang tahun 1985, kecuali tahun 2002; total penghasilan Avatar mencakup edisi khusus tahun 2010 yang mewakili seluruh penghasilannya hingga rekornya tergeser. Gone with the Wind tercantum dua kali di tabel ini: total untuk tahun 1940 mencakup penayangan tahun 1939–1942 (keliling/besar-besaran/bertarif murah)[84] ditambah semua penghasilannya hingga penayangan ulang tahun 1961 sebelum rekornya direbut oleh The Sound of Music tahun 1966; angka tahun 1971—setelah merebut kembali rekornya—meliputi penghasilan dari penayangan ulang tahun 1967 dan 1971, tetapi tidak meliputi penayangan ulang setelahnya. The Godfather dirilis lagi tahun 1973 setelah memenangi penghargaan di Academy Awards ke-45, sedangkan Jaws dirilis lagi tahun 1976. Penghasilan kotor keduanya mungkin mencakup penghasilan dari penayangan ulang. The Sound of Music, The Godfather, Jaws, Jurassic Park, dan Titanic menambah penghasilannya masing-masing lewat penayangan tahun 1973, 1997, 1979, 2013, dan 2012, tetapi tidak disertakan dalam angka total karena rekornya sudah tergeser sebelum dirilis ulang.
Termasuk penghasilan dari penayangan ulang. Apabila sebuah film menambah penghasilan kotornya lewat penayangan ulang sambil memegang rekor, tahun penghasilan kotor tertingginya dimiringkan.
Lihat pula: Daftar seri media berpenghasilan kotor tertinggi
Seri James Bond adalah seri film pertama dengan penghasilan kotor lebih dari $1miliar.
Sebelum 2000, hanya tujuh seri film yang berpenghasilan kotor di atas $1miliar di box office: James Bond,[96]Star Wars,[97]Indiana Jones,[98]Rocky,[99][100][101]Batman,[102]Jurassic Park,[103] dan Star Trek.[104] Sejak pergantian abad ke-21, jumlahnya naik menjadi lebih dari 50 (tidak termasuk film top tunggal seperti Avatar, Titanic, dan Frozen).[105] Ini dipicu oleh inflasi dan pertumbuhan pasar serta penerapan model berseri oleh Hollywood: film-film yang temanya sudah dikenal duluan oleh publik, misalnya diangkat dari karya sastra ternama atau tokoh yang sudah lengkap kisahnya. Metodologinya berlandaskan pandangan bahwa film-film yang berkaitan dengan sesuatu yang familier di mata publik akan lebih mudah dipasarkan. Karena itu, film-film seperti ini diberi julukan "pre-sold" (film yang sudah terjual duluan) oleh kalangan industri perfilman.[106]
Seri film sedikitnya terdiri atas dua karya yang berasal dari satu kekayaan intelektual (produk). Biasanya, karya tersebut sejalan dengan produknya, tetapi tidak selalu harus seperti itu. Konsep yang masih bertahan dalam model seri ini adalah crossover (percampuran lintas cerita). Crossover bisa diartikan "cerita yang mempertemukan tokoh atau konsep dari dua teks/seri teks atau lebih".[107]Crossover memungkinkan suatu produk dimanfaatkan oleh lebih dari satu seri film. Misalnya, Batman v Superman: Dawn of Justice tidak semata-mata bagian dari seri Batman dan Superman, tetapi juga bagian dari DC Extended Universe, sebuah jagat bersama (shared universe). Jagat bersama adalah jenis crossover yang memungkinkan beberapa karakter dari berbagai macam karya fiksi menghuni dunia fiksi yang sama.[108] Jagat bersama yang paling sukses dalam perfilman adalah Marvel Cinematic Universe, percampuran beberapa produk pahlawan super milik Marvel Comics. Marvel Cinematic Universe juga merupakan seri film berpenghasilan tertinggi dengan total lebih dari $22miliar di box office.
Film-film Star Wars adalah seri berpenghasilan tertinggi yang diangkat dari satu kekayaan intelektual/produk dengan total penghasilan lebih dari $9miliar di box office (tetapi film-film James Bond produksi Eon meraup lebih dari $18miliar apabila disesuaikan dengan harga saat ini[110]). Apabila penghasilan tambahan dari pernak-pernik juga dihitung, maka Star Wars adalah kekayaan intelektual paling benilai;[111]Star Wars memegang rekor dunia Guinness sebagai "seri pernak-pernik film tersukses" dengan nilai £19,51miliar pada tahun 2012 (sekitar $30miliar).[112][113] Marvel Cinematic Universe adalah seri dengan jumlah film berpenghasilan kotor >$1miliar terbanyak (8 film). Empat film Avengers merangkai satu-satunya seri yang setiap filmnya berpenghasilan kotor lebih dari $1miliar. Avengers juga merupakan satu-satunya seri yang penghasilan rata-ratanya lebih dari $1miliar per film. Namun, penghasilan rata-rata seri Star Wars, Pirates of the Caribbean, Jurassic Park, dan Finding Nemo, film-film Harry Potter, dan adaptasi Middle-earth oleh Peter Jackson mencapai lebih dari $1miliar sesuai inflasi.[106][114]
sedikitnya satu film dalam seri ini masih diputar satu pekan sejak 14 November 2024.
Vogel, Harold L. (2010). Entertainment Industry Economics: A Guide for Financial Analysis. Cambridge University Press. hlm.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.
Glenday, Craig, ed. (2011). Гиннесс. Мировые рекорды [Guinness World Records] (dalam bahasa Russian). Diterjemahkan oleh Andrianov, P.I.; Palova, I.V. (edisi ke-2012). Moscow: Astrel. hlm.211. ISBN978-5-271-36423-5.Pemeliharaan CS1: Bahasa yang tidak diketahui (link)
Cones, John W. (1997). The feature film distribution deal: a critical analysis of the single most important film industry agreement. Southern Illinois University Press. hlm.41. ISBN978-0-8093-2082-0. Distributor rentals: It is also important to know and recognize the difference between the distributor's gross receipts and the gross rentals. The term "rentals" refers to the aggregate amount of the film distributor's share of monies paid at theatre box offices computed on the basis of negotiated agreements between the distributor and the exhibitor. Note that gross receipts refers to amounts actually received and from all markets and media, whereas gross rentals refers to amounts earned from theatrical exhibition only, regardless of whether received by the distributor. Thus, gross receipts is the much broader term and includes distributor rentals. The issue of film rentals (i.e., what percentage of a film's box office gross comes back to the distributor) is of key importance...More current numbers suggest that distributor rentals for the major studio/distributor released films average in the neighborhood of 43% of box office gross. Again, however, such an average is based on widely divergent distributor rental ratios on individual films.
Marich, Robert (2009) [1st. pub. Focal Press:2005]. Marketing to moviegoers: a handbook of strategies used by major studios and independents (edisi ke-2). Southern Illinois University Press. hlm.252. ISBN9780809328840. Rentals are the distributors' share of the box office gross and typically set by a complex, two-part contract.
Balio, Tino (2005). The American film industry. University of Wisconsin Press. hlm.296. ISBN978-0-299-09874-2. Film Rentals as Percent of Volume of Business (1939): 36.4
Balio, Tino (1987). United Artists: the Company that Changed the Film Industry. University of Wisconsin Press. hlm.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.
Hall & Neale 2010, hlm.179. "Later epics proved far more disastrous for the backers. Samuel Bronston's The Fall of the Roman Empire, filmed in Spain, cost $17,816,876 and grossed only $1.9million in America. George Stevens's long-gestating life of Christ, The Greatest Story Ever Told (1965), which had been in planning since 1954 and in production since 1962, earned domestic rentals of $6,962,715 on a $21,481,745 negative cost, the largest amount yet spent on a production made entirely within the United States. 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."
Milwaukee Magazine. 32. 2007. The year's top–grossing movie, Aloma made $3million in the first three months and brought Gray back to Milwaukee for its opening at the Wisconsin Theatre.
Parkinson, David (2007). The Rough Guide to Film Musicals. Dorling Kindersley. hlm.28. ISBN9781843536505. But they had previously succeeded in showing how musicals could centre on ordinary people with Sunny Side Up (1929), which had grossed $2million at the box office and demonstrated a new maturity and ingenuity in the staging of story and dance.
Hall & Neale 2010, hlm.6–7. "For similar reasons of accountability, Variety has typically used figures for domestic (U.S. and Canadian) rather than worldwide revenue. This became its standard policy in 1940, when the advent of war in Europe persuaded the American film industry (temporarily, as it turned out) that it should be wholly reliant on the home market for profitability. Where specific rentals data are reported in Variety before this (which tended to be only sporadically) they were often for worldwide rather domestic performance. This was also the case with other trade sources, such as Quigley's annual Motion Picture Almanac, which published its own all-time hits lists from the early 1930s onward. The subsequent confusion of domestic and worldwide figures, and of rental and box-office figures, has plagued many published accounts of Hollywood history (sometimes including those in Variety itself), and we have attempted to be diligant in clarifying the differences between them."
Block & Wilson 2010, hlm.129. "Domestic Rentals: $30,015,000 (61%); Foreign Rentals: $18,964,000 (39%)...Gone with the Wind includes initial release plus four rereleases (1941,1942,1947 and 1954) since foreign rental revenues were available only cumulative through 1956."
McDermott, Christine (2010), Life with Father, hlm.307, No matter what the billing, the movie became a worldwide hit with $6.5million in worldwide rentals, from Pappa och vi in Sweden to Vita col padre in Italy, although it booked a net loss of $350,000. In: Block & Wilson 2010.
Hall & Neale 2010, hlm.145. "The commercial success of the five Cinerama travelogues, which earned an aggregate worldwide box-office gross of $120million by 1962 (including $82million in the United States and Canada), nevertheless demonstrated to the mainstream industry the market value of special screen formats."
Wasko, Janet (1986). "D.W. Griffiths and the banks: a case study in film financing". Dalam Kerr, Paul. The Hollywood Film Industry: A Reader. Routledge. hlm.34. ISBN9780710097309. 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, hlm.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".
Finler 2003, hlm.47. "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. hlm.49. ISBN9780195088113. 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. hlm.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-1930's. After listing it until the mid-1970's 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, hlm.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."
Klopsch, Louis; Sandison, George Henry; Talmage, Thomas De Witt (1965). "Christian Herald". 88: 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, hlm.160–161. "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. hlm.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. hlm.168. ISBN9780813120164. 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. Volume 9 of History of the American Cinema, Charles Harpole. University of California Press. hlm.50. ISBN9780520232655. 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.
Sebelum Spectre dirilis tahun 2015, penghasilan kotor seri James Bond kurang lebih $17,7miliar sesuai harga tahun 2015;[109] setelah menghitung hampir $900 juta dari Spectre, seri ini mendapatkan sedikitnya $18,6miliar sesuai inflasi.
"Spider-Man: No Way Home (2021)". Box Office Mojo. Diarsipkan dari versi asli tanggal July 29, 2022. Diakses tanggal June 28, 2024. All Releases: $1,922,598,800; Original Release: $1,912,233,593Parameter |url-status= yang tidak diketahui akan diabaikan (bantuan)
"The Lion King". Box Office Mojo. Diarsipkan dari versi asli tanggal November 25, 2020. Diakses tanggal January 8, 2020.Parameter |url-status= yang tidak diketahui akan diabaikan (bantuan)
"Frozen II". Box Office Mojo. Diarsipkan dari versi asli tanggal August 12, 2019. Diakses tanggal March 26, 2020.Parameter |url-status= yang tidak diketahui akan diabaikan (bantuan)
"Frozen (2013) – International Box Office Results". Box Office Mojo. Diarsipkan dari versi asli tanggal 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.
"Toy Story 4". Box Office Mojo. Diarsipkan dari versi asli tanggal December 14, 2019. Diakses tanggal December 7, 2019.Parameter |url-status= yang tidak diketahui akan diabaikan (bantuan)
Original release: "Jurassic Park (1993)". Box Office Mojo. Diarsipkan dari versi asli tanggal January 19, 2013. Diakses tanggal April 5, 2013. $914,691,118
As of 2010: Block & Wilson 2010, hlm.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."
Monaco, James (2009). How to Read a Film:Movies, Media, and Beyond. Oxford University Press. hlm.262. ISBN9780199755790. 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". Dalam Kerr, Paul. The Hollywood Film Industry: A Reader. Routledge. hlm.34. ISBN9780710097309. 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.
Lang, Robert, ed. (1994). The Birth of a nation: D.W. Griffith, director. Rutgers University Press. hlm.30. ISBN978-0-8135-2027-8. The film eventually cost $110,000 and was twelve reels long.
Birchard, Robert S. (2010), Intolerance, hlm.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. hlm.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.
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, hlm.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. hlm.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. hlm.146. ISBN9780520256675. 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, ...earning somewhere between $18and$22million, depending on the figures consulted
Robertson, Patrick (1991). Guinness Book of Movie Facts and Feats (edisi ke-4). Abbeville Publishing Group. hlm.30. ISBN9781558592360. The top grossing silent film was King Vidor's The Big Parade (US 25), with worldwide rentals of $22million.
Hall & Neale 2010, hlm.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, hlm.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, hlm.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, hlm.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.
Birchard, Robert S. (2010), The Broadway Melody, hlm.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. ISBN9780786420292.
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. ISBN9780810842441.
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. hlm.28. ISBN9780312100674. 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. hlm.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, hlm.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. hlm.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. hlm.146–148. ISBN9780859896603. Sources: Eddie Mannix Ledger, made available to the author by Mark Glancy...
Grand Hotel: Production Cost $000s: 700; Distribution Cost $000s: 947; US 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; US 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; US 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; US 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; US 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". Turner Classic Movies. Diakses tanggal 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, hlm.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, hlm.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. hlm.26. ISBN9781567207248. 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.]
McBride, Joseph (2011). Frank Capra: The Catastrophe of Success. University Press of Mississippi. hlm.309. ISBN9781604738384. According to the studio's books It Happened One Night brought in $1million in film rentals during its initial release, but as Joe Walker pointed out, the figure would have been much larger if the film had not been sold to theaters on a block-booking basis in a package with more than two dozen lesser Columbia films, and the total rentals of the package spread among them all, as was customary in that era, since it minimized the risk and allowed the major studios to dominate the marketplace.
Dick, Bernard F. (2008). Claudette Colbert: She Walked in Beauty. University Press of Mississippi. hlm.79. ISBN9781604730876. 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. hlm.54. ISBN9780810874343. 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.
Wilhelm, Henry Gilmer; Brower, Carol (1993). The Permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides, and Motion Pictures. Preservation Pub. hlm.359. ISBN978-0911515008. In only 2 months after the 1987 re-release, the film grossed another $45million—giving it a total gross to date of about $375million!
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. Diarsipkan dari versi asli tanggal 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, hlm.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 Television. 1 (15): 55–60. doi:10.1080/01439689500260031. $3.981million.
Alexander's Ragtime Band: Block, Hayley Taylor (2010), Alexander's Ragtime Band, hlm.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. hlm.266. ISBN9780199839223. 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. Volume 6 of History of the American Cinema. University of California Press. hlm.466. ISBN9780520221307. Boom Town ($4.6million).
Block & Wilson 2010, hlm.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, hlm.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. hlm.94–95. ISBN9780719048531. 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, hlm.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, hlm.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. Diakses tanggal 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. hlm.197–199. ISBN9780822323747. 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, hlm.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, hlm.301, The film made a $5million profit on worldwide rentals of $14.8million. In: Block & Wilson 2010.
Hall & Neale 2010, hlm.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. hlm.18. ISBN9781850438151. 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. hlm.110. ISBN9780826413956. 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.
Officer, Lawrence H. (2011). "Dollar-Pound Exchange Rate From 1791". MeasuringWorth. Diakses tanggal November 18, 2012. 1947–1948: $4.03 (per British pound)
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. hlm.178. ISBN9780786885077. 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. hlm.401. ISBN9780195167290. 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. hlm.71. ISBN9780813136110. 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, hlm.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, hlm.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, hlm.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, hlm.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. The Jungle Book $378million; Lady and the Tramp $187million
p. 382. "Production Cost: $2.4 (Unadjusted $s in Millions of $s)"
Burns, Douglas (2010), Mister Roberts, hlm.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, hlm.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, hlm.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. hlm.278–279. ISBN9780199911431. Costing $15million to produce, the film earned $47million by the end of 1961 and $90million worldwide by January 1989.
Block & Wilson 2010, hlm.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. Volume 14 of Hollywood classics. Lulu. hlm.243–245. ISBN9781411678774. 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. hlm.298 (note 2.23). ISBN9780786459162. 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, hlm.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. Diakses tanggal August 15, 2011. Worldwide Box Office: $69,995,385; International Box Office: $32,500,000
US total (including reissues): "Lawrence of Arabia". Boxoffice. Diakses tanggal 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, hlm.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..."[halamandibutuhkan]
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)"
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, hlm.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.
Hall & Neale 2010, hlm.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...
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. Diakses tanggal 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". Dalam Kolker, Robert Phillip. Stanley Kubrick's 2001: a Space Odyssey: New Essays. Oxford University Press. hlm.16. ISBN9780195174526. 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.
2018 re-release: "2001: A Space Odyssey (2018 re-release)". Box Office Mojo. Diakses tanggal September 26, 2018. Domestic Total Gross: $1,283,820; Australia: $192,457; Greece: $27,510; Netherlands: $159,068; New Zealand: $5,046; Russia: $155,841; United Kingdom: $296,525
Welles, Chris (September 7, 1970). "Behind the Silence at Columbia Pictures—No Moguls, No Minions, Just Profits". New York. 3 (36). New York Media. hlm.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. hlm.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. hlm.389. Bring those handkerchiefs out of retirement. ... After all, the first movie made around $80million worldwide.
Block & Wilson 2010, hlm.541. "Screenwriter and director George Seaton was given a then-whopping production budget of $10million to make what would be his last big movie after a long career as an actor in radio, a screenwriter, and a director."
Block & Wilson 2010, hlm.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. hlm.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. hlm.36. ISBN9780899506180. 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).
1997 re-release: "The Godfather (Re-issue)". Boxoffice. Diakses tanggal May 29, 2016. North America: $1,267,249
As of 2010: Block & Wilson 2010, hlm.246. "Domestic Box Office: $135.0; Foreign Box Office: $110.1 (Unadjusted $s in Millions of $s)."
Total: "The Godfather". Boxoffice. Diakses tanggal May 29, 2016. Worldwide Gross: $245,066,044
Jacobs, Diane (1980). Hollywood Renaissance. Dell Publishing. hlm.115. ISBN9780440533825. 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. hlm.76. ISBN9780803846814. ...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.
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, hlm.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."
Brooks, Mel (2004). "My Movies: The Collisions of Art and Money". Dalam Squire, Jason E. The movie business book (edisi ke-3). Simon & Schuster. ISBN978-0-7432-1937-2. To their credit, Blazing saddles, opened wide in June to tremendous business around the country. It's done over $80million in rentals worldwide in 1974 dollars. (Online copy at Google Books)
Priggé, Steven (2004). Movie Moguls Speak: Interviews With Top Film Producers. McFarland & Company. hlm.8. ISBN9780786419296. The budget for the first Jaws was $4million and the picture wound up costing $9million.
Hall & Neale 2010, hlm.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. Diakses tanggal 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. hlm.145. ISBN9781459600072. 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. hlm.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. hlm.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 & Wilson 2010, hlm.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."
Special edition: "Return of the Jedi (Special Edition)". Box Office Mojo. Diakses tanggal January 10, 2012. North America: $45,470,437; Overseas: $43,790,543
Finler 2003, hlm.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, hlm.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). hlm.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 & Wilson 2010, hlm.694–695. "Production Cost: $55.4 (Unadjusted $s in Millions of $s) ... The film went on to haul in over $494million worldwide."
Lifetime grosses (US & Canada): "The Lion King (1994) – Release Summary". Box Office Mojo. Diakses tanggal May 29, 2016. Initial: $312,855,561; IMAX: $15,686,215; 3D: $94,242,001
Lifetime grosses (outside US & Canada): Brevert, Brad (May 29, 2016). "'X-Men' & 'Alice' Lead Soft Memorial Day Weekend; Disney Tops $4 Billion Worldwide". Box Office Mojo. Diakses tanggal 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, hlm.764. "Production Cost: $79.3 (Unadjusted $s in Millions of $s)."
Original release (excluding 2009 IMAX reissue): "The Dark Knight". The Numbers. Nash Information Services. LLC. Diarsipkan dari versi asli tanggal February 8, 2009. Diakses tanggal 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. Diakses tanggal 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. Diakses tanggal 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.
Paskin, Willa (July 11, 2023). "Greta Gerwig's 'Barbie' Dream Job". The New York Times Magazine. Diarsipkan dari versi asli tanggal July 11, 2023. Diakses tanggal July 11, 2023.Parameter |url-status= yang tidak diketahui akan diabaikan (bantuan)
The Atlantic Monthly. 231. 1973. hlm.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. Archived from the original on 2013-10-29. Diakses tanggal 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.Pemeliharaan CS1: Url tak layak (link)
Block, Alex Ben; Wilson, Lucy Autrey, ed. (2010). George Lucas's Blockbusting: A Decade-by-Decade Survey of Timeless Movies Including Untold Secrets of Their Financial and Cultural Success. HarperCollins. ISBN9780061778896.
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