America Tycoon: The Wolf of Showbiz-Chapter 984 - 895 Watering with Money
Chapter 984: Chapter 895: Watering with Money
Chapter 984 -895: Watering with Money
Thanksgiving holiday was approaching, and “Beauty and the Beast,” co-financed by Disney Studios and Davis Studio, was released in North America a week before Thanksgiving.
The live-action fairy tale film had a production cost of 150 million US Dollars.
The premiere of the film was held at Disneyland in California.
Once such films were successful, the box office and DVD income were secondary; it was the merchandise sales that really made a profit.
One Elsa dress could profit so much that it could reduce countless investors of 200 million dollar high-end productions to tears without any left.
Martin and Ellen Horn attended the film premiere together.
However, both of them didn’t walk the red carpet.
Standing at the entrance of the Disney theater, Ellen Horn said, “That year, ‘Pirates of the Caribbean’ premiered right here.”
Martin smiled, “Judging by the presale figures, ‘Beauty and the Beast’ is going to be much stronger commercially than the pirates.”
Ellen Horn said, “Disney has prepared millions of Belle’s dresses.”
With film and merchandise both being huge sellers, Martin said, “Looking at the data feedback from all sides, this film is going to be a strong contender for this year’s global box office champion.”
The market response for “Beauty and the Beast,” just as Martin and Ellen Horn said, was an instant hit upon release.
On its first day of release in North America, it broke the November single-day box office record—77.7 million US Dollars!
Correspondingly, “Beauty and the Beast” also took down the November weekend opening record in North American film history, with a box office figure of 178 million US Dollars!
The film’s audience reputation was also excellent.
“After being poisoned by dark fairy tale movies for over a decade, we have finally seen a real live-action fairy tale film, ‘Beauty and the Beast’ has captured the essence of what a fairy tale movie should look like.”
“This is the fairy tale I remember!”
“Beauty and the Beast” became the most successful live-action fairy tale movie in Hollywood. By Christmas, its North American box office exceeded 450 million US Dollars, with almost 1 billion US Dollars worldwide.
According to authoritative market institutions’ predictions, the film’s North American box office was expected to settle above 500 million US Dollars, with worldwide box office possibly reaching up to 1.3 billion US Dollars.
Even more astonishing than the box office, though, were the film’s merchandise sales in the global market.
Just in one month, over five million Belle dresses were sold, achieving a sales revenue of 180 million US Dollars.
As for other merchandise, the sales were equally remarkable.
This was the power of Disney.
The huge success of “Beauty and the Beast” also solidified Disney Studios’ determination.
Anya Taylor Joy, recommended by Martin and after just one audition, landed the role of Cinderella.
Meanwhile, “The Lion King” real animal version and “The Jungle Book” live-action version, both invested in by Davis Studio, were also pushed into preparation by Disney Studios.
Silsa Ronan’s reputation soared, firmly stepping into Hollywood’s first tier.
…
After the Christmas holiday ended, Martin returned to Los Angeles from Atlanta, Hollywood was still in turmoil.
On Wilshire Boulevard in Beverly Hills, near the front entrance of the Academy office building, hundreds of black people and LGBTQ individuals sat in for days in a row, protesting persistently, urging the Academy to quickly implement the promised diversity reforms.
This wave was bound to affect the voting of this year’s Oscars.
In the chairman’s office of the Executive Committee, Tom Sherak stood by the window, looking at the protest banners on the street with a headache, and said to the person beside him, “They can really make a fuss, just like the worst students in school, causing a big scene whenever something is not to their liking.”
Catherine Kennedy’s attention, however, was on the journalists continuously taking pictures around, “It’s not entirely a bad thing. The main media in North America have been reporting on this for days, the awards season has regained its former liveliness, and this Oscars is bound to be in the spotlight.”
Tom Sherak could of course think of this aspect of influence, “What is the situation with the South Koreans?”
Catherine Kennedy briefly mentioned, “Three production crews have invested tens of millions of dollars, currently promoting their films all over Los Angeles, holding events in succession to lobby the judges.”
Tom Sherak nodded slightly, “It seems that internationalization and diversity are the answers to restoring the glory of the Oscars.”
“For the moment, yes,” Catherine Kennedy, as the CEO of Lucas Film, saw things more clearly, “Internationalization is easy to say, but who knows how long diversity will last, it might face backlash in a few years.”
She laughed, “The mainstream social groups actually reject these things.”
Tom Sherak couldn’t concern himself with the long term, “If it’s useful for now, we’ll use it for now.”
If the Oscars doesn’t drum up something soon, the ratings would be unbearable to watch.
Under such circumstances, “Moonlight” became Hollywood’s darling, with media praise all over, and insiders claiming it captured the soul.
“Spotlight”‘s limelight was gradually suppressed by this special film.
In the current social environment, the scandals of church priests couldn’t compete with the drama the LGBTQ community could stir up.
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“Split” also had a significant impact.
On Martin’s side, tens of millions of dollars were thrown into promotion and marketing and public relations, and a massive professional public relations team spared neither North American jurists nor overseas actors in their lobbying efforts.
Having money might not guarantee an Oscar statuette, but it can solve most of the hurdles in the award-chasing process.
Furthermore, among all the films involved in vying for major awards, “Split” had the broadest audience range.
Martin’s new film grossed 237 million US Dollars in North America after two and a half months of screening, and the overseas box office also broke through 200 million US Dollars.
