Ramsaye, Terry, red (1937). ”The All-Time Best Sellers – Motion Pictures”. International Motion Picture Almanac 1937-38 (New York: The Quigley Publishing Company): sid. 942–943. ”Kid from Spain: $2,621,000 (data supplied by Eddie Cantor)”.
Krämer, Peter (1999). ”Women First: Titanic, Action-Aventure Films, and Hollywood's Female Audience”. i Sandler, Kevin S.; Studlar, Gaylyn. Titanic: Anatomy of a Blockbuster. Rutgers University Press. Sid. 108–131. ISBN 9780813526690. ”p. 130: The list has Jurassic Park at number one with $913 million, followed by The Lion King...”
Finler 2003, s. 320. "It was up and running in time to handle Disney's most elaborate expensive feature, 20,000 Leagues Under the Sea, based on the book by Jules Verne, starring James Mason and Kirk Douglas and directed by Richard Fleischer at a cost of $4.5 million."
Block, Hayley Taylor (2010), Love Story, s. 545, ”The final cost came in at $2,260,000.” In: Block & Wilson 2010.
Block & Wilson 2010, s. 541. "Screenwriter and director George Seaton was given a then-whopping production budget of $10 million to make what would be his last big movie after a long career as an actor in radio, a screenwriter, and a director."
Block & Wilson 2010, s. 549. "Fiddler had the highest domestic box office of 1971 (it was second in worldwide box office after Diamonds Are Forever), with more than $100 million in unadjusted worldwide box office on its initial release. The soundtrack album was also a huge seller. The 1979 rerelease was not as successful, with the $3.8 million print and ad costs almost as high as the $4.3 million in worldwide rentals."
Block & Wilson 2010, s. 549. "Fiddler had the highest domestic box office of 1971 (it was second in worldwide box office after Diamonds Are Forever), with more than $100 million in unadjusted worldwide box office on its initial release. The soundtrack album was also a huge seller. The 1979 rerelease was not as successful, with the $3.8 million print and ad costs almost as high as the $4.3 million in worldwide rentals."
Block & Wilson 2010, s. 609. "Steven Spielberg, by far the most successful director of the decade, had the highest-grossing movie with 1982's E.T.: The Extra-Terrestrial, which grossed over $664 million in worldwide box office on initial release."
Block & Wilson 2010, s. 652. "Production Cost: $12.2 (Unadjusted $s in Millions of $s)."
Block & Wilson 2010, s. 664. "Production Cost: $28.2 (Unadjusted $s in Millions of $s)."
Finler 2003, s. 268. "The studio had a record operating income of $212 million in 1982, the year of Spielberg's E.T. The Extra-Terrestrial (which had cost only slightly over $10 million) and $150 million in 1985, mainly due to another Spielberg production, the $22 million Back to the Future, which became the top box office hit of the year."
Finler 2003, s. 244. "Rain Man: 30.0 (cost in million $s)"
May, Richard P. (Fall 2005), ”Restoring The Big Parade”, The Moving Image 5 (2): 140–146, doi:10.1353/mov.2005.0033, ISSN1532-3978, ”...earning somewhere between $18 and $22 million, depending on the figures consulted”
Dick, Bernard F. (1997). City of Dreams: The Making and Remaking of Universal Pictures. University Press of Kentucky. Sid. 168. ISBN 9780813120164. ”Jaws (1975) saved the day, grossing $104 million domestically and $132 million worldwide by January 1976.”
Cook, David A. (2002). Lost Illusions: American Cinema in the Shadow of Watergate and Vietnam, 1970-1979. "Volume 9 of History of the American Cinema, Charles Harpole". University of California Press. Sid. 50. ISBN 9780520232655. ”The industry was stunned when Star Wars earned nearly $3 million in its first week and by the end of August had grossed $100 million; it played continuously throughout 1977-1978, and was officially re-released in 1978 and 1979, by the end of which it had earned $262 million in rentals worldwide to become the top- grossing film of all time – a position it would maintain until surpassed by Universal's E.T.: The Extra-Terrestrial in January 1983.”
Monaco, James (2009). How to Read a Film:Movies, Media, and Beyond. Oxford University Press. Sid. 262. ISBN 9780199755790. ”The Birth of a Nation, costing an unprecedented and, many believed, thoroughly foolhardy $110,000, eventually returned $20 million and more. The actual figure is hard to calculate because the film was distributed on a "states' rights" basis in which licenses to show the film were sold outright. The actual cash generated by The Birth of a Nation may have been as much as $50 million to $100 million, an almost inconceivable amount for such an early film.”
Wasko, Janet (1986). ”D.W. Griffiths and the banks: a case study in film financing”. i Kerr, Paul. The Hollywood Film Industry: A Reader. Routledge. Sid. 34. ISBN 9780710097309. ”Various accounts have cited $15 to $18 million profits during the first few years of release, while in a letter to a potential investor in the proposed sound version, Aitken noted that a $15 to $18 million box-office gross was a 'conservative estimate'. For years Variety has listed The Birth of a Nation's total rental at $50 million. (This reflects the total amount paid to the distributor, not box-office gross.) This 'trade legend' has finally been acknowledged by Variety as a 'whopper myth', and the amount has been revised to $5 million. That figure seems far more feasible, as reports of earnings in the Griffith collection list gross receipts for 1915–1919 at slightly more than $5.2 million (including foreign distribution) and total earnings after deducting general office expenses, but not royalties, at about $2 million.”
Lang, Robert, red (1994). The Birth of a nation: D.W. Griffith, director. Rutgers University Press. Sid. 30. ISBN 978-0-8135-2027-8. ”The film eventually cost $110,000 and was twelve reels long.”
Lang, Robert, red (1994). The Birth of a nation: D.W. Griffith, director. Rutgers University Press. Sid. 30. ISBN 978-0-8135-2027-8. ”The film eventually cost $110,000 and was twelve reels long.”
Birchard, Robert S. (2010), Intolerance, s. 45, ”Intolerance was the most expensive American film made up until that point, costing a total of $489,653, and its performance at the box ... but it did recoup its cost and end with respectable overall numbers.” In: Block & Wilson 2010.
Shipman, David (1970). The great movie stars: the golden years. Crown Publishing Group. Sid. 98. ”It was a low budgeter—$120,000—but it grossed world-wide over $3 million and made stars of Chaney and his fellow-players, Betty Compson and Thomas Meighan.”
Hall & Neale 2010, s. 53. "The Four Forsemen of the Apocalypse was to become Metro's most expensive production and one of the decade's biggest box-office hits. Its production costs have been estimated at "something between $600,000 and $800,000." Variety estimated its worldwide gross at $4 million in 1925 and at $5 million in 1944; in 1991, it estimated its cumulative domestic rentals at $3,800,000."
Brownlow, Kevin (1968). The parade's gone by .... University of California Press. Sid. 255. ISBN 978-0-520-03068-8. ”The negative cost was about $986,000, which did not include Fairbanks' own salary. Once the exploitation and release prints were taken into account, Robin Hood cost about $1,400,000—exceeding both Intolerance ($700,000) and the celebrated "million dollar movie" Foolish Wives. But it earned $2,500,000.”
Robertson, Patrick (1991). Guinness Book of Movie Facts and Feats (4). Abbeville Publishing Group. Sid. 30. ISBN 9781558592360. ”The top grossing silent film was King Vidor's The Big Parade (US 25), with worldwide rentals of $22 million.”
Hall & Neale 2010, s. 58–59. "Even then, at a time when the budget for a feature averaged at around $300,000, no more than $382,000 was spent on production...According to the Eddie Mannix Ledger at MGM, it grossed $4,990,000 domestically and $1,141,000 abroad."
Hall & Neale 2010, s. 163. "MGM's silent Ben-Hur, which opened at the end of 1925, had out-grossed all the other pictures released by the company in 1926 combined. With worldwide rentals of $9,386,000 on first release it was, with the sole possible exception of The Birth of a Nation, the highest-earning film of the entire silent era. (At a negative cost of $3,967,000, it was also the most expensive.)".
Finler 2003, s. 188. "At a cost of $2 million Wings was the studio's most expensive movie of the decade, and though it did well it was not good enough to earn a profit."
The Jazz Singer and The Singing Fool
Block, Hayley Taylor (2010), The Jazz Singer, s. 113, ”The film brought in $2.6 million in worldwide rentals and made a net profit of $1,196,750. Jolson's follow-up Warner Bros. film, The Singing Fool (1928), brought in over two times as much, with $5.9 in worldwide rentals and a profit of $3,649,000, making them two of the most profitable films in the 1920s.”
Birchard, Robert S. (2010), The Broadway Melody, s. 121, ”It earned $4.4 million in worldwide rentals and was the first movie to spawn sequels (there were several until 1940).” In: Block & Wilson 2010.
Block & Wilson 2010, s. 46. "Production Cost: $0.6 (Unadjusted $s in Millions of $s)."
Cormack, Mike (1993). Ideology and Cinematography in Hollywood, 1930-1939. Palgrave Macmillan. Sid. 28. ISBN 9780312100674. ”Although costing $1250000—a huge sum for any studio in 1929—the film was a financial success. Karl Thiede gives the domestic box-office at $1500000, and the same figure for the foreign gross.”
Hell's Angels
Balio, Tino (1976). United Artists: The Company Built by the Stars. University of Wisconsin Press. Sid. 110. ”Hughes did not have the "Midas touch" the trade press so often attributed to him. Variety, for example, reported that Hell's Angels cost $3.2 million to make, and by July, 1931, eight months after its release, the production cost had nearly been paid off. Keats claimed the picture cost $4 million to make and that it earned twice that much within twenty years. The production cost estimate is probably correct. Hughes worked on the picture for over two years, shooting it first as a silent and then as a talkie. Lewis Milestone said that in between Hughes experimented with shooting it in color as well. But Variety's earnings report must be the fabrication of a delirious publicity agent, and Keats' the working of a myth maker. During the seven years it was in United Artists distribution, Hell's Angels grossed $1.6 million in the domestic market, of which Hughes' share was $1.2 million. Whatever the foreign gross was, it seems unlikely that it was great enough to earn a profit for the picture.”
Block & Wilson 2010, s. 163. "It drew $1.4 million in worldwide rentals in its first run versus $1.2 million for Dracula, which had opened in February 1931."
Vance, Jeffrey (2003). Chaplin: genius of the cinema. Abrams Books. Sid. 208. ”Chaplin's negative cost for City Lights was $1,607,351. The film eventually earned him a worldwide profit of $5 million ($2 million domestically and $3 million in foreign distribution), an enormous sum of money for the time.”
Sedgwick, John (2000). Popular Filmgoing In 1930s Britain: A Choice of Pleasures. University of Exeter Press. Sid. 146–148. ISBN 9780859896603. ”Sources: Eddie Mannix Ledger, made available to the author by Mark Glancy...”
Sedgwick, John (2000). Popular Filmgoing In 1930s Britain: A Choice of Pleasures. University of Exeter Press. Sid. 146–148. ISBN 9780859896603. ”Sources: Eddie Mannix Ledger, made available to the author by Mark Glancy...”
Finler 2003, s. 188. "The studio released its most profitable pictures of the decade in 1933, She Done Him Wrong and I'm No Angel, written by and starring Mae West. Produced at a rock-bottom cost of $200,000 each, they undoubtedly helped Paramount through the worst patch in its history..."
Block, Alex Ben (2010), She Done Him Wrong, s. 173, ”The worldwide rentals of over $3 million keep the lights on at Paramount, which did not shy away from selling the movie's sex appeal.” In: Block & Wilson 2010.
Phillips, Kendall R. (2008). Controversial Cinema: The Films That Outraged America. ABC-CLIO. Sid. 26. ISBN 9781567207248. ”The reaction to West's first major film, however, was not exclusively negative. Made for a mere $200,000, the film would rake in a healthy $2 million in the United States and an additional million in overseas markets.”
McBride, Joseph (2011). Frank Capra: The Catastrophe of Success. University Press of Mississippi. Sid. 309. ISBN 9781604738384. ”According to the studio's books It Happened One Night brought in $1 million in film rentals during its initial release, but as Joe Walker pointed out, the figure would have been much larger if the film had not been sold to theaters on a block-booking basis in a package with more that two dozen lesser Columbia films, and the total rentals of the package spread among them all, as was customary in that era, since it minimized the risk and allowed the major studios to dominate the marketplace.”
Dick, Bernard F. (2008). Claudette Colbert: She Walked in Beauty. University Press of Mississippi. Sid. 79. ISBN 9781604730876. ”Although Columbia's president, Harry Cohn, had strong reservations about It Happened One Night, he also knew that it would not bankrupt the studio; the rights were only $5,000, and the budget was set at $325,000, including the performers' salaries.”
Snow White and the Seven Dwarfs
Monaco, Paul (2010). A History of American Movies: A Film-By-Film Look at the Art, Craft, and Business of Cinema. Scarecrow Press. Sid. 54. ISBN 9780810874343. ”Considered a highly risky gamble when the movie was in production in the mid-1930s, by the fiftieth anniversary of its 1937 premiere Snow White's earnings exceeded $330 million.”
Snow White and the Seven Dwarfs
Monaco, Paul (2010). A History of American Movies: A Film-By-Film Look at the Art, Craft, and Business of Cinema. Scarecrow Press. Sid. 54. ISBN 9780810874343. ”Considered a highly risky gamble when the movie was in production in the mid-1930s, by the fiftieth anniversary of its 1937 premiere Snow White's earnings exceeded $330 million.”
Hall & Neale 2010, s. 283. "The final negative cost of Gone with the Wind (GWTW) has been variously reported between $3.9 million and $4.25 million."
Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. New York: Oxford University Press. Sid. 266. ISBN 9780199839223. ”The film's negative cost was $2.6 million, more than $1 million higher than Snow White's.”
Schatz, Thomas (1999) [1st. pub. 1997]. Boom and Bust: American Cinema in the 1940s. "Volume 6 of History of the American Cinema". University of California Press. Sid. 466. ISBN 9780520221307. ”Boom Town ($4.6 million).”
Block & Wilson 2010, s. 258–259. "Production Cost: $2.1 (Unadjusted $s in Millions of $s) ... Boom Town was the biggest moneymaker of 1940 and one of the top films of the decade."
Block & Wilson 2010, s. 267. "With worldwide rentals of $7.8 million in its initial release, the movie made a net profit of over $3 million."
Finler 2003, s. 301. "The studio did particularly well with its war-related pictures, such as Sergeant York (1941), which cost $1.6 million but was the studio's biggest hit of the decade aside from This is the Army (1943), the Irving Berlin musical for which the profits were donated to the Army Emergency Relief fund."
Block & Wilson 2010, s. 281. "Worldwide rentals of $3,449,353 barely recouped the film's nearly $2 million production cost."
Block & Wilson 2010, s. 281. "Worldwide rentals of $3,449,353 barely recouped the film's nearly $2 million production cost."
Glancy, Mark (1999). When Hollywood Loved Britain: The Hollywood 'British' Film 1939-1945. Manchester University Press. Sid. 94–95. ISBN 9780719048531. ”Mrs Miniver was a phenomenon. It was the most popular film of the year (from any studio) in both North America and Britain, and its foreign earnings were three times higher than those of any other MGM film released in the 1941–42 season. The production cost ($1,344,000) was one of the highest of the season, indicating the studio never thought of the film as a potential loss-maker. When the film earned a worldwide gross of $8,878,000, MGM had the highest profit ($4,831,000) in its history. Random Harvest nearly matched the success of Mrs Miniver with worldwide earnings of $8,147,000 yielding the second-highest profit in MGM's history ($4,384,000). Random Harvest was also the most popular film of the year in Britain, where it proved to be even more popular than Britain's most acclaimed war film, In Which We Serve.”
Mrs. Miniver: Burns, Douglas (2010), Mrs. Miniver, s. 279, ”Mrs. Miniver's galvanizing effect on Americans spawned a record-breaking ten-week run at Radio City Music Hall and garnered a $5.4 million take in domestic rentals (making Mrs. Miniver 1942's top grosser), with a $4.8 million profit on worldwide rentals of $8.9 million.”
McAdams, Frank (2010), For Whom the Bell Tolls, s. 287, ”Despite the early furor over the novel being “pro-red and immoral,” the film opened to strong and favorable reviews and brought in $11 million in worldwide rentals in its initial release.” In: Block & Wilson 2010.
Block & Wilson 2010, s. 420. "(Unadjusted $s) in Millions of $s – Production Cost: $1.0"
Block & Wilson 2010, s. 420. "(Unadjusted $s) in Millions of $s – Production Cost: $1.0"
Schaefer, Eric (1999). "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919-1959. Duke University Press. Sid. 197–199. ISBN 9780822323747. ”Leading the pack of postwar sex hygiene films was Mom and Dad (1944), which would become not only the most successful sex hygiene film in history but the biggest pre-1960 exploitation film of any kind. At the end of 1947, the Los Angeles Times reported that Mom and Dad had grossed $2 million. By 1949 Time had estimated that Mom and Dad had taken in $8 million from twenty million moviegoers. And publicity issuing from Mom and Dad's production company indicated that by the end of 1956 it had grossed over $80 million worldwide. Net rentals of around $22 million by 1956 would easily place it in the top ten films of the late 1940s and early 1950s had it appeared on conventional lists. Some estimates have placed its total gross over the years at up to $100 million, and it was still playing drive-in dates into 1975...The film was made for around $65,000 with a crew of Hollywood veterans including director William "One Shot" Beaudine, cinematographer Marcel LePicard, and a cast that sported old stalwarts Hardie Albright, Francis Ford, and John Hamilton.”
Schaefer, Eric (1999). "Bold! Daring! Shocking! True!": A History of Exploitation Films, 1919-1959. Duke University Press. Sid. 197–199. ISBN 9780822323747. ”Leading the pack of postwar sex hygiene films was Mom and Dad (1944), which would become not only the most successful sex hygiene film in history but the biggest pre-1960 exploitation film of any kind. At the end of 1947, the Los Angeles Times reported that Mom and Dad had grossed $2 million. By 1949 Time had estimated that Mom and Dad had taken in $8 million from twenty million moviegoers. And publicity issuing from Mom and Dad's production company indicated that by the end of 1956 it had grossed over $80 million worldwide. Net rentals of around $22 million by 1956 would easily place it in the top ten films of the late 1940s and early 1950s had it appeared on conventional lists. Some estimates have placed its total gross over the years at up to $100 million, and it was still playing drive-in dates into 1975...The film was made for around $65,000 with a crew of Hollywood veterans including director William "One Shot" Beaudine, cinematographer Marcel LePicard, and a cast that sported old stalwarts Hardie Albright, Francis Ford, and John Hamilton.”
Gabler, Neal (2007). Walt Disney: the biography. Aurum Press. Sid. 438. ”Still, the film wound up grossing $3.3 million...”
Burns, Douglas (2010), The Best years of Our Lives, s. 301, ”The film made a $5 million profit on worldwide rentals of $14.8 million.” In: Block & Wilson 2010.
Hall & Neale 2010, s. 285 (note 6.56). "The cost of Duel in the Sun has been reported as both $5,255,000 (Haver, David O'Selznick's Hollywood, 361) and $6,480,000 (Thomson, Showman: The Life of David O'Selznick, 472); the latter figure may include distribution expenses. Forever Amber cost $6,375,000 (Solomon, Twentieth Century-Fox: A Corporate and Financial History, 243)."
Chopra-Gant, Mike (2006). Hollywood Genres and Post-war America: Masculinity, Family and Nation in Popular Movies and Film Noir. I.B. Tauris. Sid. 18. ISBN 9781850438151. ”Forever Amber: $8 million; Unconquered: $7.5 million; Life with Father: $6.25 million”
Street, Sarah (2002). Transatlantic Crossings: British Feature Films in the United States. Continuum International Publishing Group. Sid. 110. ISBN 9780826413956. ”Although both films had higher than average budgets (The Red Shoes cost £505,581 and Hamlet cost £572,530, while the average cost of the other thirty films for which Rank supplied information was £233,000), they resulted in high takings at home and abroad.”
Eisner, Michael D.; Schwartz, Tony (2009). Work in Progress. Pennsylvania State University. Sid. 178. ISBN 9780786885077. ”Cinderella revived its fortunes. Re-released in February 1950, it cost nearly $3 million to make but earned more than $20 million worldwide.”
Barrier, Michael (2003). Hollywood Cartoons: American Animation in Its Golden Age. Oxford University Press. Sid. 401. ISBN 9780195167290. ”It cost around $2.2 million, little more than each of the two package features, Melody Time and The Adventures of Ichabod and Mr. Toad (as Tluo Fabulous Characters had ultimately been named), that just preceded it, but its gross rentals—an amount shared by Disney and RKO—were $7.8 million, almost twice as much as the two package features combined.”
Zone, Ray (2012). 3-D Revolution: The History of Modern Stereoscopic Cinema. University Press of Kentucky. Sid. 71. ISBN 9780813136110. ”Produced at a cost of $1 million, This is Cinerama ran 122 weeks, earning $4.7 million in its initial New York run alone and eventually grossed over $32 million. It was obvious to Hollywood that the public was ready for a new form of motion picture entertainment. The first five Cinerama feature-length travelogues, though they only played in twenty-two theaters, pulled in a combined gross of $82 million.”
Burns, Douglas (2010), The Greatest Show on Earth, s. 354–355, ”By May 1953, Variety was reporting that the Best Picture winner had amassed $18.35 million in worldwide rentals.” In: Block & Wilson 2010.
Hall & Neale 2010, s. 147–148. "To take full advantage of CinemaScope's panoramic possibilities, shooting was delayed for the sets to be redesigned and rebuilt, adding $500,000 to the eventual $4.1 million budget...It ultimately returned domestic rentals of $17.5 million and $25 million worldwide, placing it second only to Gone with the Wind in Variety's annually updated chart."
Block & Wilson 2010, s. 367. "It brought in $16.7 million in domestic rentals, $9.4 million in foreign rentals, and made a net profit of $8.1 million."
Block & Wilson 2010, s. 420. "Domestic Box Office: $19.6 million; Production Cost: $3.8 million."
Hall & Neale 2010, s. 149. "VistaVision was first used for the musical White Christmas (1954), which Variety named the top grosser of its year with anticipated domestic rentals of $12 million."
Block & Wilson 2010, s. 327. "Production cost: $13.3 million; Domestic Film Rental: $31.3; Foreign Film Rental: $23.9; Worldwide Box office (estimated): $122.7 (Initial Release – Unadjusted $s in Millions of $s)."
Block & Wilson 2010, s. 327. "Production cost: $13.3 million; Domestic Film Rental: $31.3; Foreign Film Rental: $23.9; Worldwide Box office (estimated): $122.7 (Initial Release – Unadjusted $s in Millions of $s)."
Hall & Neale 2010, s. 153. "South Pacific also became for a time the most successful film ever released in the United Kingdom, where it earned a box-office gross three times its negative cost of $5,610,000. Anticipated global rentals after three years were $30 million."
Ross, Steven J. (2011). Hollywood Left and Right: How Movie Stars Shaped American Politics. Oxford University Press. Sid. 278–279. ISBN 9780195181722. ”Costing $15 million to produce, the film earned $47 million by the end of 1961 and $90 million worldwide by January 1989.”
Block & Wilson 2010, s. 324. "Worldwide box office: $146.9 million; Worldwide rentals: $66.1 million; Production cost: $15.9 million. (Initial Release – Unadjusted $s in Millions of $s)"
Reid, John Howard (2006). America's Best, Britain's Finest: A Survey of Mixed Movies. "Volume 14 of Hollywood classics". Lulu. Sid. 243–245. ISBN 9781411678774. ”Negative cost: around $4 million; Worldwide film rentals gross (including 1968 American reissue) to 1970: $30 million.”
Webster, Patrick (2010). Love and Death in Kubrick: A Critical Study of the Films from Lolita Through Eyes Wide Shut. McFarland & Company. Sid. 298 (note 2.23). ISBN 9780786459162. ”Spartacus cost $12 million and grossed some $60 million at the box office, figures Kubrick rarely again matched.”
Webster, Patrick (2010). Love and Death in Kubrick: A Critical Study of the Films from Lolita Through Eyes Wide Shut. McFarland & Company. Sid. 298 (note 2.23). ISBN 9780786459162. ”Spartacus cost $12 million and grossed some $60 million at the box office, figures Kubrick rarely again matched.”
Block, Hayley Taylor (2010), West Side Story, s. 449, ”With its three rereleases, it took in over $105 million in worldwide box office ($720 million in 2005 dollars).” In: Block & Wilson 2010.
Block, Hayley Taylor (2010), West Side Story, s. 449, ”With its three rereleases, it took in over $105 million in worldwide box office ($720 million in 2005 dollars).” In: Block & Wilson 2010.
Hall & Neale 2010, s. 164. "West cost $14,483,000; although it earned $35 million worldwide in just under three years, with ultimate domestic rentals totaling $20,932,883, high distribution costs severely limited its profitability."
Hall & Neale 2010, s. 164. "West cost $14,483,000; although it earned $35 million worldwide in just under three years, with ultimate domestic rentals totaling $20,932,883, high distribution costs severely limited its profitability."
Burns, Douglas (2010), Mary Poppins, s. 469, ”In its initial run, Poppins garnered an astounding $44 million in worldwide rentals and became the company's first Best Picture Oscar contender.” In: Block & Wilson 2010.
Hall & Neale 2010, s. 188. "The negative cost of Warners' adaptation of Edward Albee's play Who's Afraid of Virgina Woolf? (1966)—filmed in widescreen and black-and-white, largely set in domestic interiors and with a cast of only four principal actors—amounted to $7,613,000, in part because stars Elizabeth Taylor and Richard Burton received up-front fees of $1 million and $750,000 respectively, against 10 percent of the gross apiece. (Their participation was presumably added to the budget)."
Palmer, R. Barton (2006). ”2001: The Critical Reception and the Generation Gap”. i Kolker, Robert Phillip. Stanley Kubrick's 2001: a Space Odyssey: New Essays. Oxford University Press. Sid. 16. ISBN 9780195174526. ”With its initial and subsequent releases, domestic and worldwide, Kubrick's arty, intellectual film earned nearly $138 million, which was, at that time, an astounding figure.”
Welles, Chris (September 7, 1970). ”Behind the Silence at Columbia Pictures—No Moguls, No Minions, Just Profits”. New York (New York Media) "3" (36): ss. 42–47. ”While Columbia, battling Ray Stark over every dollar, did Funny Girl for around $8.8 million, a million or so over budget, Fox spent nearly $24 million on Hello, Dolly!, more than twice the initial budget, and the film will thus have to gross three times as much to break even.”
Vanity Fair (577–578): sid. 388. 2008. ”Butch Cassidy went on to be a huge hit—by the spring of 1970 it had taken in $46 million in North America and grossed another $50 million abroad.”.
The Godfather
1974: Newsweek 84 (19–27): sid. 74. 1974. ”The original Godfather has grossed a mind-boggling $285 million...”.
Jacobs, Diane (1980). Hollywood Renaissance. Dell Publishing. Sid. 115. ISBN 9780440533825. ”The Godfather catapulted Coppola to overnight celebrity, earning three Academy Awards and a then record-breaking $142 million in worldwide sales.”
Stanley, Robert Henry; Steinberg, Charles Side (1976). The media environment: mass communications in American society. Hastings House. Sid. 76. ISBN 9780803846814. ”...further reflected by the phenomenal successes of The Sting, Chinatown and The Exorcist. The latter film, which cost about $10 million to produce, has grossed over $110 million worldwide.”
New York (New York Media) 8, 1975, ”...Jaws should outstrip another MCA hit, The Sting, which had world-wide revenues of $115 million. (Online copy at Google Books)”
Hall & Neale 2010, s. 206–208. "The most successful entry in the disaster cycle was the $15 million The Towering Inferno which earned over $48,650,000 in domestic rentals and about $40 million foreign."
Brooks, Mel (2004). ”My Movies: The Collisions of Art and Money”. i Squire, Jason E. The movie business book (3). Simon and Schuster. ISBN 978-0-7432-1937-2. ”To their credit, Blazing saddles, opened wide in June to tremendous business around the country. It's done over $80 million in rentals worldwide in 1974 dollars. (Online copy at Google Books)”
Priggé, Steven (2004). Movie Moguls Speak: Interviews With Top Film Producers. McFarland & Company. Sid. 8. ISBN 9780786419296. ”The budget for the first Jaws was $4 million and the picture wound up costing $9 million.”
Hall & Neale 2010, s. 214. "Rocky was the "sleeper of the decade". Produced by UA and costing just under $1 million, it went on to earn a box-office gross of $117,235,247 in the United States and $225 million worldwide."
Block, Alex Ben (2010), Rocky, s. 583, ”The budget was $1,075,000 plus producer's fees of $100,000.” In: Block & Wilson 2010.
Hall & Neale 2010, s. 218. "Eventually costing $11,293,151, Star Wars was previewed at the Northpoint Theatre in San Francisco on May 1, 1977."
Hofler, Robert (2010). Party Animals: A Hollywood Tale of Sex, Drugs, and Rock 'N' Roll Starring the Fabulous Allan Carr. ReadHowYouWant.com. Sid. 145. ISBN 9781459600072. ”Despite the fact that Grease was well on its way to becoming the highest-grossing movie musical in the world, and eventually grossed over $341 million...”
McAdams, Frank (2010), Top Gun, s. 678–679, ”Production Cost: $19.0 (Millions of $s) ... Despite mixed reviews, it played in the top 10 for an extended period and was a huge hit, grossing almost $345 million in worldwide box office.” In: Block & Wilson 2010.
Block & Wilson 2010, s. 694–695. "Production Cost: $55.4 (Unadjusted $s in Millions of $s) ... The film went on to haul in over $494 million worldwide."
Block & Wilson 2010, s. 509. "Production Cost: $140.0 (Unadjusted $s in Millions of $s)."
The Atlantic Monthly "231": s. 2. 1973. ”As of the end of 1971, GWTW stood as the all-time money-drawing movie, with a take of $116 million, and, with this year's reissues, it should continue to run ahead of the second place contender and all-time kaffee-mit-schlag spectacle.”
New Times 2. 1974. ”Coppola is King Midas, the most individually powerful U.S. filmmaker ." His credits include directing the first Godfather (worldwide earnings: $142 million, ahead of Gone with the Wind, The Sound of Music and The Exorcist)...(Online copy at Google Books)”.
google.co.uk
”'Love Story' II: Ryan Redux?”. New York (New York Media) "9": s. 389. 1976. ”Bring those handkerchiefs out of retirement. ... After all, the first movie made around $80 million worldwide.”
United & Babson Investment Report (Babson-United, Inc.) 72: sid. 262. 1980. ”Columbia Pictures Industries is continuing to rake in the box office dollars from its Oscar-winning Kramer vs. Kramer, which has topped $100 million in domestic grosses and $70 million overseas. Kramer, which cost less than $8 million to make, is now the second...”.
May, Richard P. (Fall 2005), ”Restoring The Big Parade”, The Moving Image 5 (2): 140–146, doi:10.1353/mov.2005.0033, ISSN1532-3978, ”...earning somewhere between $18 and $22 million, depending on the figures consulted”
