The Best Actor in the Vase of Meiyu

Chapter 1359 A Group of Clowns

Wait, what’s wrong with the box office data? Was there an error in the update?
If I remember correctly, the box office of "Eternal Love of Dream" was 23 million US dollars last weekend. How come it was still 23 million US dollars this week?
This is obviously a statistical error, or there was an error in the publication of the figures, or there was a typesetting error when the newspaper was printed.

All in all, a mistake.

How is it possible for a movie to have exactly the same box office numbers for two weeks in a row, especially when the number of theaters it was shown in has more than doubled?
Even if the data is falsified, one should know to avoid such low-level stupid mistakes, such obvious flaws that can be seen as "unusual" at a glance.

Haha, this scene is really funny and deserves to be recorded in history.

When Hollywood professionals saw the latest issue of the Los Angeles Times, they found the North American weekend box office data list for the fourth week of March to be a joke.

In this list, there are no problems with the data of other works, except for "The Light of Love", which has obvious errors in the numbers.

Champion: Scooby-Doo 2: $ million.

Runner-up: “The Light of Life”, $23 million.

Third place: “Old Lady Killer,” $12 million.

Fourth place: "The Passion of the Christ," $12 million.

Fifth, "Dawn of the Dead," $9 million.

A quick look at the list shows that there are more than just one or two focuses and topics.

For example, "Scooby-Doo 2," which premiered this week, achieved impressive box office results amidst a chorus of criticism. This purely spoof comedy film received a media rating of only points, which can definitely be described as a complete failure. However, in the box office market, it still continued the momentum of the "American Pie" and "Scary Movies" series. No wonder such spoof films continue to emerge in large numbers.

For example, the battle between "The Lady Killers" and "The Passion of the Christ" was so fierce that the winner was ultimately decided by a tiny difference of less than $100,000.

"The Lady Killers" is directed by the Coen brothers and starred by Tom Hanks. The distribution strategy of this film has caused widespread heated discussion in the media. The film will be launched in the main competition unit of the Cannes Film Festival in two months, but it did not choose to premiere in Cannes, but first met with North American audiences.

It is very, very rare for the Cannes Film Festival to allow this to happen, that is, to select works that have already been released into the main competition unit.

I have to say that the presence of the Coen brothers and Tom Hanks is still unique.

Precisely because of this, this black comedy film has attracted considerable attention. The gimmick of "getting a sneak peek at Cannes' main competition works first" has aroused the interest of veteran movie fans. In the end, it fought with "The Passion of the Christ," which was still setting its own record in its fifth week of release, until the very last moment.

Another example is that Dawn of the Dead was not able to withstand the pressure in its second week of release. Whether it was because zombie movies are still a niche subculture, or because the quality of this remake was not attractive enough, the result was that the box office collapsed in the second weekend.

The drop was close to 60%.

If the media were more or less willing to pay attention to this remake last week, then this week "Dawn of the Dead" suddenly became worthless and was thrown into a corner by the media in an instant.

Zack Snyder?

Who is that? No one paid attention and just turned off the microphone.

There is more than one focus. Although it cannot compare with the hustle and bustle of the summer season, at least we can feel the liveliness of this year's spring season.

However, the discussion value of these focal points all disappeared in the face of the "errors" of the list, and the entire Hollywood inside and outside of it was collectively ridiculed.

Was there something wrong with the second week box office of “Love Love”?
This is simply absurd. I can't imagine that the Los Angeles Times would make such a low-level mistake, which makes everything in front of me full of irony.

"I didn't expect the Times to be so stupid." "Maybe the editor was too eager to push Anson to the throne of superstardom."

"Could this be the result of the game between the big guys?"

"It's a joke."

"Anson is now in great disgrace."

The air is stirring.

But it didn't last long, and people began to notice the abnormality one after another.

The latest North American weekend box office rankings published by mainstream authoritative media such as the New York Times, the Wall Street Journal, and the Washington Post are all the same:

Uniformly, the box office figures for “The Sunshine of the Spotless Mind” were all $23 million.

So, this isn't a typographical error? This isn't a mistake by the Los Angeles Times?

That is...exhibition relationship?
In North America, the weekly box office data is compiled by an organization called Exhibitor Relations. They get exact data from theaters on Friday and Saturday, and then infer Sunday data based on sample surveys and related data, and announce the estimated weekend box office rankings on Monday.

That means the box office charts people saw on Monday were estimates.

Then on Tuesday, the exhibitors will release a confirmed list.

However, although it is called an "estimate", the statistical model of exhibition relations is actually very accurate with a small error; the adjusted data subsequently announced are often not much different, and the error values ​​are basically within hundreds of thousands of dollars, which can be ignored.

Unless it's films like "The Lady Killers" and "The Passion of the Christ" whose weekend box office difference is within $100,000, the other rankings rarely change.

Of course, since it is an estimate, there must be a certain amount of deviation. Since the Los Angeles Times did not make any printing errors, the eyes of Hollywood professionals flocked to the exhibition relations.

Is it that the exhibitors made a mistake in their statistics? Or did the exhibitors make a mistake when reporting the figures to the major media?
Otherwise, there is no way to explain the data in front of us.

Thousands of eyes were focused on the exhibitors, and the heavy pressure was on them. The exhibitors also realized the severity of the problem, and they issued an unprecedented announcement:

Data, everything is normal.

To be precise, the box office of "Eternal Love" in the second weekend did not decrease but increased by less than 2%. The specific data will be confirmed after the adjusted box office is released on Tuesday, but according to statistics from the exhibition relationship, the box office figures of "Eternal Love" are not wrong.

All Hollywood: …

There was complete silence, everyone was stunned.

The ridicule and complaints before were as crazy as the slap now. His expression was stiff, his brain froze and he completely lost the ability to react.

Surprisingly, there was nothing wrong?
When the box office of "Dawn of the Dead" plummeted by 60% in its second week, "Eternal Love" actually rode the wind and waves and achieved a slight growth in box office?
Focus Features withstood the pressure, ignored Hollywood's suppression and hype, and insisted on expanding the film step by step, and it actually reaped the rewards?
The box office data from 23 million US dollars to 23 million US dollars easily evokes the classic scene when "Titanic" was released that year.

That year, the media also collectively ridiculed "Titanic" after its opening weekend. Everyone thought that 20th Century Fox had messed up, and their endless indulgence of James Cameron was reaping the consequences. The movie might become a complete disaster.

However, the box office numbers for "Titanic" increased instead of decreasing in its second weekend, which was a strong slap in the face. It turned around overnight, and the rest is history.

So, who is the clown now?
(End of this chapter)