[Chapter 561: Oscar PR Strategy]
As December arrived, more good news came in. Mission: Impossible finally hit the Japanese market on November 29 and was met with an enthusiastic reception. After just two weeks, the film had already raked in $38.16 million in Japan. Given the momentum, the box office there was poised to surpass $60 million.
More significantly, with the $38.16 million from Japan included, the global box office for Mission: Impossible successfully crossed the $1 billion mark. It reached $1.0073 billion, becoming the first film in history to break the $1 billion threshold, setting a new milestone.
Robert and Scott Flick, president of Universal Studios, both suggested to Linton that they hold a grand celebration party for Mission: Impossible.
However, Linton hesitated. Since the film had long since finished its North American run, staging such a celebration would provide little direct revenue. Aside from increasing exposure for the two companies and the core creative team, it wouldn't offer much tangible benefit.
Both studios had achieved outstanding results this year and were already way ahead among Hollywood giants; they didn't need more publicity -- and overdoing it would risk arousing jealousy.
Furthermore, the film's leads, including Linton himself and Catherine Zeta-Jones, already enjoyed plenty of media attention. Catherine was currently promoting Chicago, which made the celebration feel unnecessary.
Ultimately, the idea to throw a party was vetoed by Linton. Instead, to boost morale, he approved a $20 million bonus pool to reward the key contributors to the film. The profits had been simply enormous.
Just from the North American market alone, the studio's box office share hit $224 million, and television broadcast rights sold for $50 million. Merchandise sales totaled $110 million. After deducting distribution fees and the actors' likeness royalties, the net profit stood at $44 million.
The video rental income was even more staggering. The seven-year exclusive rental and sales rights for VHS were sold for $60 million. The first quarter's rental revenue was settled recently, with a whopping $90 million earned in royalties.
The soundtrack album's revenue share also exceeded $10 million.
Adding all these sources together, the total income already surpassed $470 million, and the revenue stream from ongoing rights exploitation promised to keep flowing, especially video rental sales, which could be likened to a cash cow.
Overseas box office had crossed $600 million. Although foreign box office splits were much lower -- just over 30% -- and copyright protections weaker in many countries, the market size and ticket sales volume were large enough that overseas revenue wouldn't lag far behind North America's total.
According to Universal's estimates, the film would generate no less than $950 million in revenue for the two companies this year alone. Over the next two years, licensing income was expected to add another $300 million, with ongoing rights management offering a steady, long-term source of profits.
...
In its second week, Run Lola Run continued strong with $28.75 million at the domestic box office, surpassing Star Trek: First Contact's $26.91 million, finishing second only to the newly released 101 Dalmatians.
After two weeks, Run Lola Run's North American box office cumulative total stood at $71.43 million. Judging by the trend, $100 million was far from out of reach.
---
By December 13, Chicago quietly opened in 100 theaters for limited previews.
In New York, Hans, a retired Broadway enthusiast, was returning from a walk in a Long Island park. At his suburban home, he retrieved that day's New York Times from his mailbox.
Having long been a devoted fan of Broadway musicals, Hans eagerly searched the entertainment section, aware that the film version of Chicago was debuting that day.
The entertainment headline read, [Chicago: A Glamorous Transformation of the Musical.]
[The film's story closely mirrors the stage musical,] the review stated, [yet the director has repackaged it with a modern cinematic style. Although the themes of fame and desire are familiar staples of Hollywood, Chicago is no typical musical. It fuses and innovates across genres.
The movie clearly underwent a fresh adaptation, blending elements of musical and film noir styles. The result is a tantalizing mix of sultry allure and shadowy mystery, perfectly marrying lavish song-and-dance numbers with a restrained, moody black film atmosphere.
It's fair to say that Chicago's film adaptation completes the glamorous evolution of the musical genre. The transitions and interactions between dance scenes and realistic moments are more fluid and immersive than the stage version, striking a deep chord with audiences.]
Reading up to this point, Hans folded the newspaper with resolve. He had already planned to see the film and now fully intended to head to a nearby theater after lunch.
After parking, he buttoned his coat against the winter chill and went to Long Island's most famous independent cinema. He noticed the crowd was different than usual.
Where once mostly young people filled theaters, today the majority were middle-aged or older, many like himself. Walking down the aisle made Hans feel decades younger.
At the lobby's prominent poster display, Hans surveyed the large Chicago poster featuring Pierce Brosnan, Madonna, and Catherine Zeta-Jones striking impressive poses. The two leading ladies, clad in short dance costumes, looked stunningly gorgeous and sexy -- far more so than the actresses in the newest Broadway production.
Though his body aged, his heart remained forever young.
Hans kept this thought to himself. If anyone asked, he'd simply say he was there for the art, curious to see what was different about the film adaptation of Chicago.
Holding that thought, Hans approached the ticket counter, greeted warmly by the attendant.
"How can I help you, sir?"
"One ticket for the next showing of Chicago, please," Hans said, ready to pay.
"I'm sorry, sir. The showtime in half an hour is sold out."
"Sold out?" Hans was surprised. "Chicago is that popular?"
"Sorry. Your only options are the evening screenings or waiting here in case of a last-minute cancellation fifteen minutes before showtime..."
"No thanks." Hans declined, shaking his head. "I'll check other theaters."
Outside, Hans drove to the slightly farther AMC theater, one of Long Island's largest multiplexes with 15 screens. It was a Friday afternoon, so tickets should be available.
Entering the lobby, Hans wasted no time purchasing a ticket for the next Chicago showing. He found an open seat to wait for admission.
Once again, like at the first theater, Hans noticed a surprising number of older adults here too. Nearby, he overheard conversations.
"The Chicago tickets have been hard to get. I checked two Manhattan theaters with no luck, so I came here."
"Is Chicago really this hot?"
"I have a friend who attended a test screening. They said this movie is better than any stage or film version of the musical."
"I read in the paper all the rave reviews about its adaptation."
...
Nearly half an hour later, Hans entered the screening room, which seated about 300. Habitually, he chose a seat towards the back and settled in quietly.
The theater filled quickly. Before the lights dimmed, Hans noticed the occupancy had surpassed 90%.
'It's Friday afternoon. The prime time crowd isn't here yet,' he thought, shaking his head. For retirees like him, day or night, Friday or Saturday, made little difference.
The film began, and from Catherine's first appearance, Hans was captivated.
The movie didn't disappoint. Using a tone that seemed appreciative yet biting, it mercilessly satirized the superficial, restless spirit of 1920s Chicago.
One lyric stuck out: "Murder can be an art."
Hans murmured, "It should be, shamelessness can be an art!"
"You said it," replied the elderly man beside him, agreeing. "A brilliant update. What do you think?"
"Indeed," Hans whispered. "Sharp and pointed, with beautiful, lively dance scenes that blend naturally."
"The casting's brilliant too," the man continued. "Pierce Brosnan shines, and Madonna and Catherine deliver outstanding musical performances."
...
After the film, Hans found himself chatting with nearby audience members. They all shared similar ages and had seen various versions of the musical, offering thoughtful analysis.
Hans reflected, "Depth has never been a strength of musicals, but Chicago's film tackles social critique sharply. The characters feel vivid and complex. It's a great success."
"Though the movie trims some material from the stage version, the musical numbers remain plentiful and flow well -- unlike older musicals that dragged the story."
"Chicago has long been a Broadway staple, with over a thousand shows. Adapting it to film is a huge challenge. This is the best adaptation I've ever seen."
...
Not only in New York, but in Los Angeles, Chicago, San Francisco, and other cities where limited previews debuted, theaters reported packed houses from afternoon on.
Come prime time, the theaters were nearly full -- often sold out, making operators grin with the decision to add extra screenings.
...
Released with a unique distribution approach, this movie's marketing differed from the norm. Rather than organizing a nationwide publicity tour with director Anne Fletcher and stars Madonna, Catherine, and Brosnan, the team took the production directly to Broadway.
Chicago had already become a classic Broadway musical with decades of loyal fans.
To attract these nostalgic older theatergoers to cinemas, the distribution team cleverly partnered with Broadway theaters for joint performances.
The film's three leads appeared on stage for live Chicago shows, blending theater and film promotion.
For Madonna, accustomed to concert tours, this was no challenge. For Catherine, it was even more familiar; before meeting Linton, she had been a longtime London West End stage performer.
Only Pierce Brosnan found it somewhat daunting and nervously asked Catherine before going onstage, "Catherine, this is my first time performing live in a theater. Anything special I should watch out for?"
"Just follow the choreographer's rehearsals. There's nothing extra to worry about. We practiced every dance repeatedly while filming -- it's actually easier live than on screen," Catherine reassured him.
"I thought theatre must be tougher since with film you can do multiple takes and the director picks the best. Live leaves no room for mistakes," Pierce said.
"That's true, but none of us are professional musical theater actors. The audience won't expect perfection," Madonna comforted.
Just as Madonna predicted, when the show started and Madonna, Catherine, and the contemporary James Bond appeared on stage, the theater erupted.
This superstar combination shocked the audience -- pop diva plus Hollywood A-listers on a Broadway stage was a sensational moment.
Truth be told, aside from the seasoned Catherine Zeta-Jones, Madonna and Pierce's performances didn't quite match the professional stage actors' caliber.
But their star power overshadowed any small flaws in acting.
For these fans, simply witnessing pop and film stars live on Broadway was electrifying enough.
After the evening's show, when Madonna, Pierce, Catherine, and the stage cast took their bows, the entire audience rose, applauding thunderously for minutes.
Purchasing a regular Broadway ticket to attend such a spectacle was an incredible bargain.
The well-heeled middle-aged crowd naturally wondered if the film version could match the stage's excitement, prompting them into theaters.
...
The next day, outlets like the New York Times splashed front-page coverage of the Broadway event:
[Last night on Broadway, the reimagined Chicago premiered its grand stage revival. The film's stars -- pop queen Madonna, Hollywood heartthrob Pierce Brosnan, and esteemed actress Catherine Zeta-Jones -- took the stage. Not only did they watch the performance, but joined in, delivering a spectacular surprise to attendees.]
Such stories naturally captivated Chicago's loyal older fans, sparking interest in the movie and driving them to ticket counters.
...
After finishing the live shows, the core team returned to Los Angeles, reuniting with Anne and Charlize Theron, who had just wrapped up their North American promo tour.
Under Harvey Weinstein's guidance, they dove into the awards season PR blitz.
Per Linton's instructions, the focus this season was on Chicago and Run Lola Run, though each with distinct strategies.
For Chicago, Linton demanded Oscar nods for Best Picture, Best Director, Best Leading Actor, Best Leading Actress, and Best Supporting Actress.
He insisted the film clinch wins for Best Picture, Best Leading Actress, and Best Supporting Actress.
They also aimed to secure Golden Globe wins in the Musical or Comedy category: Best Picture, Best Leading Actress, and Best Supporting Actress.
Run Lola Run's goal was simpler: secure an Oscar nomination for Best Leading Actress, with no expectations for wins.
But since Charlize held a special place in Linton's esteem, he tasked Harvey with ensuring she won the Golden Globe for Best Actress in a Drama.
...
From day one of Chicago's limited release, its 100 theaters averaged over $10,000 per house daily.
The opening weekend's total reached $4.3 million.
Surprisingly, during weekdays -- with fewer venues and an older, mostly retired audience -- the film maintained strong attendance, averaging above $10,000 per theater daily.
After a full week, Chicago's average attendance exceeded 70%, with over 95% audience approval.
IMDB ratings soared to 8.7.
Weekly per-theater box office hit a stunning $89,600, pushing the cumulative total to $8.96 million.
With word-of-mouth spreading and a growing sense of hunger for the film, the distribution team planned to moderately increase the limited release in the second week -- doubling theaters to 200 -- while still controlling the scale.
*****
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