Tent Pole Release Dates What Are

Tent-pole (entertainment) – Wikipedia

As used in broadcast programming and motion pictures, the term tentpole refers to an episode of a television show or a film that helps to boost the financial performance of a film studio or television network. It is intended to be an analogue for the way a strong center pole offers a secure framework to a tent construction. It is possible that a tent-pole picture will help to increase the sales of tie-in items.

Types

When it comes to the film industry, tent-pole films are frequently extensively disseminated initial offerings in a run of releases, and studios anticipate them to earn a profit in a short amount of time. This type of programming is frequently backed by greater budgets and extensive marketing. The term tentpole movie refers to a film in which a large number of tie-in items, such as toys and video games, are expected to be produced in conjunction with the film.

Examples

When it comes to television, an example of this strategy is to schedule a popular television program alongside new or unknown programming in an attempt to keep audience viewers watching after the flagship program has concluded; a prominent example of this strategy is the long-running Star Trek series. Similarly, in broadcast programming, if a network has two tent-pole series, it may increase the performance of a weak or fledgling show by putting it in-between the two tent-pole series.

See also

  • Blockbuster (entertainment)
  • Event movie
  • Four-quadrant movie
  • List of the highest-grossing films
  • Audience flow.

References

While business policies in Hollywood fluctuate, with few exceptions, each of the major film studios regularly emphasizes the value of “tentpole” films as a means of attracting new audiences. What exactly are they? A studio’s release calendar might be built around the release of large, boisterous, and expensive films. In addition to being released during the two major box office seasons — November through December (for the holidays) and May through July (for the summer), tentpole films are frequently based on previously published literary material (e.g., Harry Potter, Lord of the Rings, Iron Man, Spiderman) or previously released original films (e.g., The Hobbit, The Lord of the Rings, The Lord of the Rings) (e.g., Star Wars, Indiana Jones).

  • Because their major role is to hold up (perform well) at the box office, raking in a large sum of money in a short period of time, and by doing so, they help to maintain the balance of a studio’s whole slate of film releases, which is why they’re referred to as “tentpole” movies.
  • throughout the previous several decades than Warner Bros.
  • is looking forward to 2009 and even 2010 with fewer than usual large budget tentpole pictures: This is the type of picture that Warner Bros.
  • With a massive budget for top-tier cast, elaborate action scenes, and special effects, it has the potential to be a significant moneymaker for the studio’s various divisions, including television, home video, merchandising, and videogames, as well as for the film industry as a whole.
  • had its way, the studio would release at least four of these blockbusters per year.
  • Make the most of the year 2009.
  • It will continue to release 25 films every year, as it has in the past.

It appeared like classic superheroes and fantasy epics would be unable to compete until Warner Bros.

Alan Horn, President and Chief Operating Officer of Warner Bros.

The normal road to a tentpole movie is, as previously said, a pre-existing literary or original motion film, although a writer may have had an excellent concept, written a book or script that later became the basis of a successful series at some time (e.g., Lethal Weapon, Die Hard, Shrek).

By the way, when it comes to creating tentpole films, there are no hard and fast rules or scientific approaches.

As at the time of writing, it appeared to be a conventional mid-budget, high-concept film starring a competent, but not A-list piece of talent (Ben Stiller).

Tentpole films are films that are made for a large audience. Do you have a picture of one in your head?

A Marketer’s Guide to Tentpole Marketing

Tentpole marketing is the practice of focusing your promotional operations around major events. The word was initially used in Hollywood to characterize the excitement generated by blockbuster films during their initial release weekend, when interest levels are at their highest. To ensure that people are sitting in their seats as release dates approach, marketers spend a lot of money, and this increase in interaction is sometimes thought to resemble a tentpole supporting a canvas of expectation.

However, popular holidays such as Christmas and Halloween are wonderful places to start when planning your activities.

Here are some pointers on how to do it correctly:

Tailor your content

You should customize your production to coincide with impending events, whether you’re creating videos, blog entries, or social media material. Suppose you own a clothing firm and you want to market your fitness gear in the run-up to a major athletic event such as the Rugby World Cup. This makes sense. However, you must exercise caution when it comes to copyright, since you may not be permitted to directly refer to these events as being associated with your business. However, because this is a murky area, you should contact with your legal team before using the phrase “the rugby” or making any other allusion to an impending match between two teams.

Videos are key

With all of the excitement around major events, it makes sense to take advantage of this by creating innovative video material. You must use the appropriate tags, titles, and descriptions to make YouTube work for your brand. By nailing them, you’ll be able to gain more views as interest levels rise and connected search phrases become increasingly prominent. Infiniti, a sports car manufacturer, recently participated in the Goodwood Festival of Speed, and they commissioned film footage to document their participation.

Plan ahead

The development of a marketing plan helps you to concentrate your marketing efforts on forthcoming tentpole events, ensuring that you remain current and are not forced to scramble for last-minute content when everyone begins talking about something important. Plan out the upcoming year and consider which events in the calendar would be most beneficial for your company’s attention.

You don’t have to nail down your specific marketing approach, but you should make sure you’re one step ahead of the competition and are aware of what’s coming up next. Coca Cola does a fantastic job with this.

Be reactive

While preparing ahead might be beneficial to a certain extent, it is always a good idea to keep a look out for major news items that emerge out of nowhere. When working in the environmental industry, for example, it would be foolish not to take advantage of the Volkswagen emissions issue. Car manufacturers are all bragging about their environmental credentials, and this is a good chance for anyone working in a related sector to weigh in on the topic of sustainability. Always keep an eye on the news and come up with creative methods to tailor stories to match your company’s needs and objectives.

Monitor social media for popular subjects and consider how you might utilize hashtags to reach the most number of people possible with your message.

Make use of all of the marketing techniques available to you in order to keep the excitement going long after the event has ended as well!

When the Tent-Pole Sags

(Please keep in mind that this item contains a lot of numbers.) Please feel free to skim through everything, but I wanted all of the information I utilized to be available for anyone who were interested in learning more. In terms of a conclusion. I’m afraid I don’t have one. I understand what the data are indicating, but I’m not sure how the studios will interpret them. This will necessitate more investigation at some time.) Jaws is usually regarded as the first real summer blockbuster, and this is largely agreed.

Although Jaws was extremely popular during the summer of 1975, it was not the catalyst for a widespread trend.

The “teenage lads” demographic was designated as the primary target group for the summer blockbuster (specifically, males between the ages of 12 and 19).

The late 1970s was a time when girls were preoccupied with other activities (there were female Star Wars enthusiasts, to be sure, but they were far outnumbered by male Star Wars fans), and older folks tended to dismiss these films as “for kids.” The year 1981 marked the year in which the blockbuster truly came into its own.

  1. (which was released on June 27), and Smokey and the Bandit II (which was released on August 1).
  2. There were a few more want tobe blockbusters, such as Xanadu, but the three films listed above were the only ones to make more than $50 million, which was the standard for tremendous success at the time.
  3. Six of those nine films were PG-13 summer releases, including blockbusters such as Raiders of the Lost Ark, Superman II, and For Your Eyes Only, among other famous titles.
  4. (which for many years was the number one movie of all time), Star Trek II: The Wrath Of Khan,Poltergeist (all of which were released on the same day),Rocky III, andAnnie were all released in 1982, continuing the tradition (okay, notallbig movies were targeted at teenage boys).
  5. For more than three decades, the notion of the summer blockbuster remained unabated in Hollywood.
  6. Teenage ladies stepped in to fill the void left by a segment of the teenage guy demographic who preferred to spend their time playing video games.
  7. However, despite these modifications, the core summer movie structure established by Jaws and others remains in place.

Spring and October are the best times to use dramatic foliage.

It’s not overt, but it’s noticeable.

Despite the fact that there have been glimpses of this in former years, it has been more apparent than ever in 2016, and particularly in 2017.

That is the only way to create a meaningful comparison between the two situations.

Here’s an example from recently: When the studios announced (accurately) that the 2016 box office had surpassed the previous “champion” of 2015 ($11,129M), it was a sign of things to come for the industry.

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The year 2002 was the all-time high.

That is significant, and it is for this reason that Hollywood is concerned.

In the film industry, the usage of the term “gross box office” is a marketing ploy to deceive customers into believing that the industry is more stable than it actually is.

This research is limited to blockbusters that have been certified as such, or films that have grossed more than $200 million.

As a result, Star Wars: The Force Awakenswill not be included, despite the fact that it is such an outlier that it is debatable how much its large gross actually matters.

Seven of the fourteen titles were summer releases.

Two of them were animated (BraveandMadagascar 3).

The other two films (The Amazing Spider-Man and MIB 3) were sequels to previous films.

After adjusting for inflation, the overall gross of all summer films grossing more than $200 million was $2.445 billion.

Seven of the fourteen titles were summer releases.

Man of Steel, another superhero film, was included in the list of the top seven.

Only one of them (World War Z) had a distinguishing feature.

Taking Man of Steel into consideration as a sequel because it is a part of an established series, that leaves six sequels and one original property to choose from.

In 2014, 16 titles grossed more than $200 million after adjusting for inflation.

Guardians of the Galaxy, the most earning summer film, was based on a comic book/superhero franchise and was an original property.

There were no animated films in the festival.

The remaining five films were either sequels or were part of existing series (Transformers: Age of Extinction,Dawn of the Planet of the Apes, Godzilla, 22 Jump Street, Teenage Mutant Ninja Turtles).

After adjusting for inflation, the overall gross of all summer films grossing more than $200 million was $2.233 billion.

Five of the eleven titles were summer releases.

Avengers: Age of Ultron was the most popular superhero film of the year.

Two of them were animated (Inside OutandMinions).

Fast and Furious 7 was the other film, which was a sequel.

After adjusting for inflation, the cumulative gross of all summer films grossing more than $200 million was $2.468 billion.

Only four of the 13 films were summer releases: Finding Dory, Captain America: Civil War, The Secret Life of Pets, and Suicide Squad, all of which were released in June.

After adjusting for inflation, the overall gross of all summer films grossing more than $200 million was $1.635 billion.

But let’s play it safe and suppose that the as-of-yet unreleased filmsJustice League and The Last Jediwill meet all of our expectations.

Wonder Woman, Guardians of the Galaxy Vol.

The overall gross of all summer films grossing more than $200 million was $1.4 billion.

The summer statistics in 2012, 2013, 2014, and 2015 were all comfortably in excess of $2 billion.

Why?

In addition, more films have been released outside of the summer season in 2016/17, which may have had an impact on summer box office statistics.

During this time period, beginning with The Avengers, the Marvel superhero films have increasingly emphasized the need of working together.

NOTE: Although Guardians of the Galaxy is part of the so-called Marvel Cinematic Universe (MCU), it has not yet been blended with the more traditional superhero movies.

Avengers: Age of Ultron grossed $482 million worldwide in 2015.

The upward tendency is undeniable.

The MCU returns with Iron Man and Captain America in Captain America: Civil War, as well as additional Spider-Man content.

Strange, is in development, but it appears unlikely to surpass Spider-Man: Homecoming in box office gross.) Is it possible to get superhero fatigue?

After that, how about a superhero sequel that isn’t a Marvel production?

Star Trek: Star Trek into Darkness ($250 million), Star Trek Beyond ($165 million); total cost: -$85 million.

20 percent is a dreadful percentage, especially when one considers how precipitous the majority of those reductions have been in recent years.

Why, if the summer/tent-pole numbers for 2016/2017 are so dismal, do the full-year numbers continue to look respectable in comparison?

Aside from the fact that they are all distributed by Disney, all of the biggest grossing outliers of the past few years (Star Wars: The Force Awakens, Rogue One, and Beauty and the Beast) have one thing in common: they are all based on classic stories that cross demographics and inflate their audience numbers.

  1. And who can say no to the return of Star Wars in its full glory?
  2. Because of this, as the popularity of these films wane, it is becoming increasingly obvious that the foundation is beginning to crack.
  3. My presumption was that the domestic box office was slowly eroding, but I wasn’t aware of the extent to which franchises were suffering until recently.
  4. The latter is in doubt, while the former appears to be in peril at the moment.
  5. Maybe things will turn around for the better next year.
  6. Or it’s possible that people are just becoming bored of an ongoing assembly line of sequels and remakes that all seem depressingly similar to one another.

It’s possible that studios will have to reassess their strategies, and that this might herald the comeback of smaller, original projects that prioritize narrative and character above spectacle in the future. Isn’t it true that I can dream?

A Marketers Guide to Tentpole Marketing

Consider a film that hasn’t yet been released in theaters. A major motion picture that is now generating a lot of buzz. This is a film that has most likely already incurred significant financial expenses, and it is a safe bet that the studio expects to earn a sizable profit on it. In fact, this is precisely why they want you to be aware of it weeks, if not months, before it is made available to the broader public. It’s likely that once the film has stopped playing in theaters, the studio would like you to continue to express an interest in it by purchasing associated stuff such as a video game, t-shirt, poster, or any other number of items.

As time passes, though, the excitement around the film will surely wane, and you’ll find yourself looking forward to the next big blockbuster alongside the rest of the world.

What is Tentpole Marketing?

Consider a film that hasn’t yet been released in the theaters: This is a huge movie that is currently garnering a lot of buzz. This is a film that has most likely already incurred significant financial expenses, and it is a safe bet that the studio expects to make a sizable profit from it. It’s precisely for this reason that they want you to be aware of it several weeks, if not months, before it is officially released. Even after the film has stopped playing in theaters, the studio would likely like you to maintain your interest in it by purchasing a video game, t-shirt, poster or any of the many other items that are available to go along with it.

Eventually, though, the excitement around the film will wane, and you’ll find yourself looking forward to the next big blockbuster along with the rest of your fellow movie-goers.

Pitching your Tent

When implementing this type of marketing approach, it is critical to correctly organize your content activities, which is why an editorial calendar as well as an event calendar are both required. While the editorial calendar might change during the year to take into account particular facts about the event as it approaches, the event diary will allow you to keep track of everything that is significant over the whole year. It will then be possible to choose how you will deploy your marketing efforts around each event as the occasion approaches closer (but not too close).

  • Industry-irrelevant events include any widely recognized event that is not related to your industry and that generates a flurry of activity, such as national holidays such as Christmas, Easter, and Halloween, as well as major sporting events such as the Olympics and the FIFA World Cup football tournament. The release of major motion pictures and television series falls under this category as well. Product launches, recruiting drives, appointments, and trade fairs are examples of events that might be considered industry related. Other examples include conferences, seminars, and workshops. These are events when it is more probable that your company will be directly participating or preparing something

As a general rule, the more the amount of control you have over the organization of an event, the more aggressively you should promote it and the longer the pre-buzz curve of your marketing campaign should be. For example, if your firm is launching a new product, you will have a great deal of control over the event, not just in terms of the date, but also in terms of the venue and attendance if it is a live event as well. The more the amount of control you have over an event, the greater the amount of obligation rests on your shoulders to produce that pre-buzz curve.

The upside of these types of events is that there is less pressure on you to develop that first buzz curve, which means that you do not have to start your marketing campaign as early as you might otherwise.

However, with less well-known events and a little creative content marketing, you have a three-fold chance of getting your material to the top of Google’s search engine results pages (SERPs) during peak holiday seasons like Christmas.

Let’s take a closer look at each facet of the tentpole marketing curve in greater depth, with a particular emphasis on events that are significant to the business.

Pre-Event Buzz

The more control you have over an event’s preparation, and the more difficult it should be to promote it, and the longer the pre-buzz curve of your marketing campaign should be, the better the results will be. Consider this: If your firm is launching a new product launch event, you will have a great deal of control over the event, not just in terms of the date, but also in terms of the venue and attendance if it is a live event. As a result, the more the amount of control you have over an event, the greater the responsibility you have for generating the pre-buzz curve.

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As a result, there is less pressure on you to develop that first buzz curve, and as a result, there is less pressure on you to begin your marketing campaign as early as possible.

However, with less well-known events and a little creative content marketing, you have a three-fold chance of getting your material to the top of Google’s search engine results pages (SERPs).

  • Identifying my target audience (e.g., business-to-business or business-to-consumer, new clients or existing customers)
  • Where am I going to use SEO, social media, email marketing and industry press as part of my primary distribution plan
  • What critical performance indicators (social interaction, search engine rankings, website traffic) will I use to evaluate my progress?
  • What critical indicators (social engagement, search engine rankings, website traffic, etc.) will I use to evaluate my progress
  • And

What critical performance indicators (social interaction, search engine rankings, website traffic) will I use to gauge my progress?

The Main Event

There’s no denying that the event itself is critical, and if your firm is engaged in its organization, it’s critical to provide attendees with as many opportunities as possible to tweet, post photographs, and stream video and comments in real time. In addition to standard social media channels such as Twitter and Facebook, streaming services such as Google Hangouts on Air and Periscope are also excellent for this purpose. The event itself should be the pinnacle of the tentpole curve in terms of buzz, thus it’s critical that you document the proceedings on the day in question.

Taking video and photographs is essential so that you may preserve them and make them available to the public in the following days and weeks is also recommended.

In order to share, retweet, and comment on other notable attendees’ or keynote speakers’ information to your own followers as and when it is shared, make sure you’re following or linked to them.

The Time Horizon

The temporal horizon is the period of time that elapses between the conclusion of an event and the cessation of all discussion of it. Ideally, any successful tentpole marketing approach would seek to keep the debate going for as long as possible without really milking it. This may be a difficult line to walk, but as a general guideline, if your excitement has all but waned and you aren’t reaching any new individuals, it’s usually time to move on and concentrate your efforts elsewhere.

Here are four effective strategies for maintaining the excitement surrounding an event:

  • After the match, it is critical to do a post-match evaluation. You should talk about the event and what you and other attendees took away from it for at least 48 hours. This is an excellent moment to start arguments or to participate in ones that have already been initiated by others.
  • Content repurposing: The capacity to take ideas and reuse them into new content formats is a significant driver of social engagement on a variety of platforms. As an example, consider converting a whitepaper into a series of blog entries, or a keynote address into a slideshare presentation or infographic.
  • The act of re-sharing content does not exclude you from sharing the same image or video more than once. After a month or two, this may be a fantastic means of restarting a debate on social media and even connecting with new individuals who were unable to attend the event. However, use caution when employing this strategy because it might appear a little dated
  • Regularly occurring events may take use of the prior event as a strategy to generate conversation about the upcoming event by utilizing it as a springboard for the following event. “Can you tell me what occurred last year?” Questions of the form “How will this year be better?” help reignite enthusiasm in the previous event while also stirring up the discourse about the upcoming event far ahead of time.

Revisiting: Events that take place on a regular basis might benefit from utilizing the prior event as a tool to generate discussion about the next event. “Can you tell me what occurred the year before? Questions of the form “How will this year be better?” can reignite interest in the previous event while also stirring up the discourse about the upcoming event far ahead of time;

Box Office: Is Hollywood Releasing Too Many Tentpoles?

I thought I’d take a look at each studio’s 2016 slate to see what kind of potential diversity they were offering in a theater near you, especially in light of all of the talk about tentpole saturation and too few movies accounting for too much of the total gross (which is a conversation for another day), Moreover, much to my relative surprise (although not really, because I noted this while I was writing my piece on Warner Bros.

  1. last week), it appears that the bulk of the major studios are really presenting a mix of big-budget and indie films throughout the year.
  2. A slew of minor releases with a couple of sure-fire big smashes or franchise-starters sprinkled throughout, all spread out appropriately.
  3. Okay, so Walt Disney is the exception that proves the rule, but he’s still the exception.
  4. Only three of the thirteen releases (the Chris Pine/Casey Affleck Coast Guard drama, the IMAX documentaryThe Beautiful Planet, and the Michael Fassbender/Alice Vikander dramaThe Light Between the Oceans) are not slated to be tentpole/blockbuster/franchise pictures, according to the studio.
  5. ), andRogue One: A Star Wars Story are among the films on their slate.
  6. Disney, on the other hand, is being Disney.
  7. In addition to having the most potential franchise offers, Warner Bros./Time Warner Inc.
  8. Twenty-six of the films (Batman v Superman, Barbershop 3, The Legend of Tarzan, The Conjuring 2, Suicide Squad, and Fantastic Beasts and Where to Find Them) are potential franchise entrants, with two of those films qualifying as smaller-scale genre entries.
  9. Lionsgate is going through something of a transitional period right now.
  10. Put this in exaggerated perspective, picture A24 grabbing the 007 distribution rights for a few films, then losing them and having to deal with the media and stockholders who somehow anticipated comparable earnings from films like Spring Breakers and The Witch.
  11. trying to replaceHarry Potterprofits).

This year, however, includes a number of smaller films (The Perfect Match, Criminal), a couple of big franchise plays (Now You See Me 2, The Divergent Series: Allegiant), a couple of small franchise plays (The Mechanic: RessurectionandBoo: A Madea Halloween), and some potential Oscar contenders (La La Land,Day,Deepwater Patriot’s Horizon).

  • The majority of those films are the small-scale genre entertainment on which Lionsgate built their reputation prior to the release of The Hunger Games.
  • was scarcely recognizable.
  • Zoolander 2 was a disappointment, but it provides a vital lesson about the power of viral-friendly nostalgia.
  • Tina Fey’s Whiskey Tango Foxtrotis (probably) a disaster, but it’s exactly the type of film we believe Hollywood should be creating, so we openly decry it at our peril rather than applauding it.
  • They have four films coming out between now and the end of April (10 Cloverfield Lane, The Little Prince, Richard Linklater’sEverybody Wants Some, and the Djimon Hounsou/Renee Zellweger dramaSame Kind of Different As Me) before ramping up their production for the summer months in earnest.
  • They also have the smaller-scale versions of these things.
  • As a result, just three of their fifteen films are big-budget tentpoles, and they all come out in the middle of the summer season.

Deadpool was clearly not intended to be 20th Century Fox’s mega-tent pole choice this year, and the film’s tremendous ($673 million-plus-counting) success is more of a bonus than anything else, thanks to savvy marketing and a popular product.

They have a lot of franchises in the remainder of their lineup, such as Kung Fu Panda 3 and Trolls from DreamWorks Animation, and Miss Peregrine’s Home for Peculiar Children, which is directed by Tim Burton (one of my most anticipated releases).

Sony has fifteen films coming out in 2016, including The Mermaid, which will only be available in limited distribution in the United States.

Moving ahead, they will include titles such asMoney Monster and Sausage Party among classics such as Ghostbusters and The Angry Birds Movie.

So, yeah, it is the one we should be pulling for.

has a slate that appears to be a lot more in line with their tentpole-free 2014 slate than their colossal 2015 offers.

Consider the films The Purge: Election Year, Melissa McCarthy’s The Boss,Hail, Caesar!, and The Girl on the Train, to name a few examples.

And, once again, keep in mind that they achieved record profit margins with a slate that did not include a single conventional big-budget tent pole production just two years ago.

If it appears that we are living in a tentpole-centric world all of the time, this is mainly due to the fact that each studio has at least a few such products, and as a result, we may easily receive one of them practically every week, especially during the spring and summer seasons.

When it comes to which films earn the most money, what counts is that the non-tentpole films generate enough money in relation to their costs and expectations that studios are willing to continue releasing them into the future.

It’s possible that things may be different next year, but for now, practically all of the big studios are blending their franchise/tentpole content with pretty much anything else that counts as a multiplex studio release in this day and age, including indie films.

What is a “tentpole movie”?

During my reading of a Variety article, I came across the following sentence: “It’s beneficial for the stars to appear in tentpole films.” AndReeves appears to be an excellent choice for the role of the extraterrestrial Klaatu; he exudes an otherworldly serenity that suits well in the film.” Is there such a thing as a tentpole movie? Thank you for asking the inquiry. For the same reason, I’ve seen this word repeated over and over in the Hollywood trade press and have been really fascinated about it as well.

  • So let’s have a look around a little bit.
  • Do you think it’s reasonable?
  • On the first Google search, I hit a home run!
  • Furthermore, a study article from Harvard Business School exposes the dangers of current production corporations’ overall “tentpole movie” strategy: The performance of the box office will be more reliant on a small number of blockbusters.
  • On a general basis, emphasis will be focused on the most promising projects (also known as “tent pole” or “event” films).
  • Because blockbuster movies continue to earn a larger percentage of total box office income, this looks to be a viable business approach.
  • In addition, I’ve had three films gross more than $100 million in box office income apiece in 2003 (accounting for 14 percent of the total for the year), compared to only two in 1998.
  • If a so-called tentpole movie costs $100 million or more to produce and fails to earn money, it will have a significant impact on the bottom line of any corporation, let alone one as hazardous as a movie production company.
  • Now that we understand what a tentpole movie is and why it may not be the best approach for the movie studios, we can discuss why we think it is.

It’s not all terrible, though, when it results in some of the fantastic big-budget films that we’ve been able to enjoy in recent years. Are you a movie buff? Then followFilmBuzz on Twitter for your daily dose of entertainment news!

Hollywood Tent Pole Film Delays Threatening More Than Just The Domestic Box Office

Our perspective on things is often limited to the realm of Hollywood and the influence of movies on other nations, but this is not always the case. In recent years, Hollywood has been chasing money from other nations, such as China, and has distributed pictures to select countries before they were released in the United States. The Global Box Office, as pointed out by Variety, may have to take precedence over the domestic box office, as well, as Variety points out. Recently, several cinemas in the United States began reopening with pandemic-appropriate standards in place.

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However, because to the pandemic, they were forced to postpone their intended release dates until a few days before they were to be released.

States that have a significant impact on box office take, such as Florida, California, and Texas, have stronger regulations, and theaters would have most certainly stayed empty if this had happened.

Here’s the problem:

Our perspective on things is often limited to the realm of Hollywood and the effect of movies on other nations, particularly in the United States. Over the last several years, Hollywood has been chasing after money from other nations such as China, and has released pictures in some countries before the United States market has had a chance to see them. The Global Box Office, as noted by Variety, may have to take precedence over the domestic box office, as the film’s release date approaches. Recent developments in the United States have seen certain theaters restart operations under pandemic-appropriate standards.

However, because to the pandemic, they were forced to postpone their intended releases until a later date.

In states that have a significant effect on box office take-up, such as Florida, California and Texas, the rules are harsher, and the theaters would have most likely been empty if the rules had been followed.

Varietytalked to some of the U.K. theaters and here’s what they said:

It’s easy to be myopic when it comes to Hollywood and the influence that movies have on other nations. In recent years, Hollywood has been chasing money from other nations, such as China, and has distributed pictures to select countries before they are released in the United States. The Global Box Office, as pointed out by Variety, may have to take precedence over the domestic box office, as well. Recently, several cinemas in the United States began reopening with pandemic-appropriate rules. They intended to screen some older films first, in order to reacquaint American fans with the format, and then go immediately into new releases like as Disney’s Mulan and Warner Bros.’ Tenet.

Tenetapapears to have been deleted from the release schedule as of right now.

Studios made the decision to postpone their releases in order to accommodate the box office in the United States.

The CEO of Vue. Intl., Tim Richards made this statement:

In order to make a final decision, we are waiting to see what happens with the release dates, because it is different if one movie moves vs multiple movies shifting. We can see that momentum is developing and that consumer confidence is increasing, but we will not be able to prosper again as an industry unless we make a focused effort on the major releases. While certain states in the United States, China, and Europe are recovering, I would like to believe that the film business can take a global view of the situation and distribute pictures in markets that have reopened.

The dependency on Hollywood:

After everything is said and done, Hollywood may suffer a double blow. Now that the worldwide market is being hampered by a scarcity of material from American studios, it is imperative that we act quickly. Some countries are beginning to rethink their reliance on Hollywood as a result of this. According to Nathanael Karmitz, CEO of MK2, which has offices in Spain and Paris, the “dangerous dependence” on U.S. film studios and the need for a stronger European film industry are both issues that need to be addressed.

  • Nonetheless, Hollywood is a dominant power on the world stage, and the theater sector relies on “tent pole” films to maintain its position in the industry.
  • The domestic theatrical industry is concerned that Mulan, which is now planned for August 21, would be pushed back again further.
  • It’s not just our box office that’s having difficulties right now.
  • Source:Variety Featured image courtesy of WikimediaPiratesPrincesses(PNP) is an independent, opinionated fan-powered news site that covers Walt Disney World and Universal Studios Theme Parks, Themed Entertainment, and associated Pop Culture from a consumer’s perspective.
  • It is important to note that PNP is an unofficial news source and has no affiliation with The Walt Disney Firm, NBCUniversal, or any other company that we may cover.

Summer tent-pole films set new release dates despite increase in movie attendance

Actor Hwang Jung-min in a scene from the film “Deliver Us From Evil” / Courtesy of CJ Entertainment

The COVID-19 epidemic has been going on for a while now, and several major film companies have announced revisions to their summer releases of “tent-pole” blockbusters. By Kwak Yeon-soo “Deliver Us From Evil,” “Hero,” “Space Sweepers,” and “Mogadishu” are among the films that have been postponed; the only picture that looks to be impacted is “Peninsula,” which is still scheduled for release in theaters in July. On June 11, CJ Entertainment stated that it will be making alterations to its release schedule.

An official from the corporation stated, “After taking into consideration different elements such as summer vacation and market conditions, we determined that August would be a more acceptable month than July.” This adjustment triggered a chain reaction that pushed the release of its highly anticipated feature “Hero” into the fall or even farther into the future.

An account of Ahn’s assassination of Ito Hirobumi, Japan’s prime minister and first resident governor general of Korea, in 1909 is shown in this film.

In March of the following year, Ahn was killed in a Japanese jail in China, where he had been imprisoned. The film was created by director Yoon Je-kyoon, who is well known for his earlier works such as “Ode to My Father” and “Haeundae.”

Actor Song Joong-ki in a scene from the film “Space Sweepers” / Courtesy of Merry Christmas

The cinema debut of the sci-fi blockbuster “Space Sweepers,” which was initially scheduled on August 12, has been postponed to late September or early October, according to the studio. According to the film’s distributor, Merry Christmas, it is expected to be released in local theaters before the Chuseok holiday season as a result of pandemic-related post-production delays. The crew of a space trash sweeper is the focus of the film, which takes place in the year 2092. While searching for valuable space junk, they come upon the humanoid “Dorothy,” who turns out to be a weapon of mass devastation, and they become entangled in a “risky bargain.” The film is directed by Jo Sung-hee, who previously produced the popular fantasy film “Werewolf Boy.” Jo Sung-hee also serves as producer.

Director Yang Woo-seok, right, poses with the cast of the film “Steel Rain 2: Summit” in this photo provided by Lotte Entertainment / Courtesy of Lotte Entertainment

Lotte Entertainment has also made some adjustments to its release schedule. Mogadishu, a high-profile action picture starring Kim Yoon-seok and Jo In-sung, will be released in the fall, according to the studio. A life-or-death escape attempt by South Korean and North Korean embassy personnel who were stuck in the thick of the Somali Civil War in the 1990s is chronicled in the film, directed by Ryoo Seung-wan. As a result of this alteration, the summer release of “Steel Rain 2: Summit,” starring Jung Woo-sung and Kwak Do-won, has been pushed back to the summer.

A sequel to Yang’s webtoon “Steel Rain 3: Summit,” “Steel Rain 2: Summit” is based on Yang’s original webtoon.

Jung will portray the president of South Korea in the film, while Kwak will portray an elite North Korean sailor and the mastermind behind the kidnapping in the film.

Starting on June 4, the Korea Film Industry Corporation (KOFIC) began releasing special discount vouchers that allow moviegoers to purchase tickets for 6,000 won for three weeks.

As a consequence, the number of people who went to the movies on June 6 and 7 reached 316,929, more than twice the 152,284 who went the week before, according to the Korea Film Industry Council.

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