How much money did the movie tusk make

Watch. See the full gallery. Set in Middle America, a group of teens receive an online invitation for sex, though they soon encounter fundamentalists with a much more sinister agenda. Two teenage yoga enthusiasts must do battle with an evil presence that is threatening to rise from its underground lair and endanger their major party plans. A calamity at Dante and Randal’s shops sends them looking for new horizons — but they ultimately settle at the fast food empire Mooby’s. Lifelong platonic friends Zack and Miri look to solve their respective cash-flow problems by making an adult film. As the cameras roll, however, the duo begin to sense that they may have more feelings for each other than they previously thought. The comic «Bluntman and Chronic» is based on real-life stoners Jay and Silent Bob, so when they get no profit from a big-screen adaptation, they set out to wreck the movie. An abortion clinic worker with a special heritage is called upon to save the existence of humanity from being negated by two renegade angels trying to exploit a loop-hole and reenter Heaven. A day in the lives of two convenience clerks named Dante and Randal as they annoy customers, discuss movies, and play hockey on the store roof. Holden and Banky are comic book artists. Everything’s going good for them until they meet Alyssa, also a comic book artist.

That is the question that Kevin Smith posed to audiences in with his body-horror-comedy Tusk. Apparently, no one wanted to know the answer because the film flopped in theaters. Let it be known that I am here for you! In the episode, Smith with his longtime friend and producer Scott Mosier discussed an article featuring a Gumtree ad where a homeowner was offering a living situation free of charge, if the lodger agrees to dress as a walrus. The discussion went on from there, resulting in almost an hour of the episode being spent on reconstructing and telling a hypothetical story based on the ad. The post on Gumtree was in fact a prank post by noted Brighton poet and prankster Chris Parkinson, who upon hearing of the planned film said he was a big fan of Smith and that he would love to be involved. Smith eventually hired Parkinson as an associate producer in November. Nothing about him inspires sympathy for what happens to him later in the film. This may pose a problem for some viewers, especially those looking for legitimate horror. That being said, the scene where Wallace discovers that his leg has been amputated is easily the highlight of the film unless the walrus suit reveal is your favorite, I go back and forth. Once he is in his full walrus suit, Long is essentially relegated to just hopping around and grunting for the remainder of the film.

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Still, he makes for a pretty convincing walrus. That reveal is equal points humorous and shocking though. Kudos to Smith for not holding back with that creature design. The quick-zoom-out of the camera when Walrus Wallace first makes his appearance adds to the hilarity of the situation.

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Posted on Friday, January 2nd, by Germain Lussier. Now, in part two of our long interview with the filmmaker, we dig a little deeper. Smith goes into great detail about some of the more talked-about decisions he made in Tusk , which is now on Blu-ray. First Smith talks about the decision to reveal the walrus suit so early in the film. That leads into a discussion of effects in general, his preferred tone, other problems people have with the film and then his biggest regret in the marketing of the film. He then talks about the inventive, aggressive schedule on Yoga Hosers , which is almost done filming. Read the rest of our Kevin Smith Tusk interview below. This is the continuation of part 1, which you can read here. I wondered why you did that reveal that so early? Like do you know a real human walrus somewhere in the world? You wanna sit there and stare at it, look at all the seams and see what they put in the design and whatnot.

All business have to spend money to make money. Asked in Movies How much did The Simpsons movie cost to make? The film industry is in flux, and ticket sales alone don’t drive revenue. Technically, any film that takes in more money than it cost to make and market is a hit.

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Still, there are a few tried and true ways that films can attempt to make money. Your Practice. And the numbers only go up with bigger films. The intention was to make a movie, not make money. Related Articles. Independent filmmakers can actually make money if they have a great foreign sales agent who can sell their film in key overseas markets. A shocking number of releases did better abroad than in North America, which makes sense when we consider population numbers.

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If you really liked a particular movie, and you’re hoping it made enough money to warrant a sequel, then the wealth of box-office news can be confusing. How can you tell when a movie’s a hit? We asked the experts. If you even pay a little attention to what’s going on in the entertainment industry, it’s easy to get snowed in with box office information that seems meaningful, but is hard to interpret.

If a movie’s number one in its opening weekend, does that mean it’s automatically a hit? Or is the percentage drop between the first and second weekends the important number? And so on. News outlets tend to report lots of box-office data without giving that much context. As Phil Contrino, editor of BoxOffice. They look at the opening weekend — and instantly a movie is a success or a failure.

Sometimes, a film can do well in its first weekend and then stumble in later weekends. Or a film can develop «legs,» like Christopher Nolan’s Inceptionand win a few weekends in a row. Studio accounting, designed to make sure people don’t collect on back-end deals, is a marvel. So how do you know if the box-office gods have smiled enough on your favorite movie that studios are likely to greenlight similar films? The short answer is, it depends on a number of factors, but a rule of thumb seems to be that the film needs to make twice its production budget globally.

For the longer answer, read on. There’s a how much money did the movie tusk make more, although studios are loath to give out numbers. The studios seldom release accurate production budgets — and they’re even more leery of revealing how much they spend on other stuff, like promotion. That’s because those films are often romantic comedies or kids’ movies, which are cheap to make but still need a lot of promotion.

And the numbers only go up with bigger films. Of course, the promotional expenses are different for each film — Contrino points out that Fox didn’t seem to waste much money promoting Gulliver’s Travelsonce it was clear they had a dud on their hands. So Gulliver didn’t lose as much money as it could. And in some cases, a studio will actually have less money at stake than the film’s production budget — sometimes, the distributor will just acquire an already-made film for a small fee, plus marketing costs, says Gitesh Pandya with BoxOfficeGuru.

In those cases, the studio can make a profit even if the film doesn’t make back its production budget. You might have noticed that studios are pushing a lot harder lately to make a film as big a hit as possible in its opening weekend.

And films tend to open on more screens right away — a typical big film will open on 4, screens, instead of the hundreds of screens it would have opened on in the s. And it used to be true across the board that the opening weekend was when the biggest percentage of profits went to the studios.

In the past, studios «strong-armed exhibitors into these front-loaded deals, wherein the overwhelming majority of the opening weekend take goes to the studio,» says David Mumpower with Box Office Prophets.

Eventually, by the fourth week, the studio’s cut has fallen to around 52 percent in most cases. But after a bunch of theater chains declared bankruptcy in the early s, these frontloaded deals started to fall out of fashion, says Doug Stone with BoxOfficeAnalyst.

Nowadays, with many of the bigger Hollywood blockbusters, the theater chains just get a standard cut of the whole revenue, regardless of which weekend it comes in.

The percentage of revenues that the exhibitor takes in depends on the individual contract for that film — which in turn depends on how much muscle the distributor has, according to Stone. These deals often protect the theaters from movies that bomb at the box office by giving the theaters a bigger cut of those films.

You can actually look at the securities filings for the big theater chains, to look at how much of their ticket revenues go back to the studios, points out Stone. So for example, the latest quarterly filing by Cinemark Holdingsshows that So as a ballpark figure, studios generally take in around percent of U. The highest profile example of a film that bombed in the U. And a similar thing happened with the previous Narnia movie, Prince Caspian.

Another big film that made way more money overseas than domestically was Terminator Salvation. So if a film does incredibly well overseas but flops in the U. As with everything else to do with box office, the answer is «it depends. According to the book The Hollywood Economist by Edward Jay Epstein, studios take in about 40 percent of the revenue from overseas release — and after expenses, they’re lucky if they take in 15 percent of that number.

Domestic revenue just counts for a lot more than overseas revenue, says David Mumpower with Box Office Prophets:. The reason for this is simple. Collecting revenues abroad is a trickier proposition since the dollar fluctuates against foreign currencies. There are also tariffs from these governments in place in order to keep as much money as possible from leaving their countries and going abroad, which is an understandable practice.

While the global conglomerates such as Fox, Disney and Time-Warner that run major Hollywood studios can secure sweetheart deals with various local governments, it doesn’t happen for each film. As such, international box office revenue is much less reliable than in North America. But still, overseas box office does matter, more and. And stars who have a huge global following are more likely to open a movie than ones who are only famous in the U.

A shocking number of releases did better abroad than in North America, which makes sense when we consider population numbers. It’s just a relatively new phenomenon for the industry. Avatar’s performance is a great demonstration of global expansion. That’s how important the global picture has become to Hollywood studios. And the studios get a much bigger cut of DVD revenues than they do of theatrical revenues, because the retailers aren’t as «significant of a middle man» as the theater owners, according to Paul Dergarabedian, president of Hollywood.

There are a lot of costs that go into running a movie theater, and showing movies is all the movie theater does — unlike most places where DVDs are sold. There are some genres of film that do especially well on DVD — like horror films, which are often cheaper to make than other genres to begin with, says Dergarabedian.

A horror movie might or might not break even at the theaters, but it’s sure to make lots more money when it hits DVD. But actually, the trend towards studios depending on DVD sales may have peaked already — infor the first time in a decade, theatrical box office revenue was bigger than home-video revenue, says BoxOfficeAnalysts’ Stone. And this seems to be continuing into Perhaps because of piracy or the popularity of Netflix, DVD sales aren’t keeping pace with ticket sales any.

Says Stone, «Studios can no longer rely on as robust an ancillary market to prop up a failure at the box office. That’s one reason why you’re hearing so much about 3-D — those higher ticket prices are a way to plug the revenue hole from disappointing DVD sales. And studios are going to start investigating premium video-on-demand services more, as another way to shore up their earnings, says Stone. The A.

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By Dustin Rowles Celebrity September 21, A few years ago when Kevin Smith announced a retirement that he never quite followed through on, he did it on his own terms. He promised Hit Somebody and Clerks III neither of which have yet materialized and that afterwards, he would devote himself primarily to his podcast network. Tusk was the brainchild of the podcast, having grown out of a hoax newspaper ad, and mpney podcast conversation about it.

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The movie itself, unfortunately, was not very good. Or Anti-Clausanother horror movie he has plans to direct? How many favors can Smith continue to call in to get guys like Depp in his films? Or even Justin Long? If he continues to get movif and make largely unfocused films like Tuskwill anyone finance his projects? After voluntarily announcing his retirement from filmmaking a couple of years ago, will Kevin Smith be forced into it? I hope not. I love the guy, warts and all. His salesmanship. His storytelling ability. His sense of humor, and his affection for his fans. I hope he puts down the bong.