How many of China’s entertainment billionaires can you name? Here’s the first of a series of articles to introduce you to them.
China’s Entertainment Billionaires: China’s ‘Disney,’ Cai Dongqing
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Category Archives: Opinion
Announcement of China’s ‘Netflix’ May Be the Death Blow for Netflix in China
Several major Chinese government owned companies have teamed up with Alibaba to form a streaming video service that may force an early end to Netflix’ China ambitions.
It’s a Bollywood-Hollywood David vs. Goliath Showdown at China’s Cinemas
It’s a Bollywood-Hollywood David vs. Goliath Showdown at China’s Cinemas
There is something new that has occurred in China this week: two of the top four ranks at the box office have been claimed by non-Hollywood, non-English language pictures.
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Why is China So ‘Furious’?
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By Robert Cain for China Film Biz
April 22, 2015
In the weeks leading up to its April 12th opening day in China, the consensus among box office watchers was that Furious 7 would wind up with a final gross of around $125 million for its PRC run, and that its distributors would be ecstatic about that.
After all, only four Hollywood releases—Transformers 3, Transformers 4, Avatar and the 2012 Titanic re-release—have ever reached that rarefied level in China. The previous Fast & Furious installment had topped out at $68 million in Chinese receipts in 2013, a strong but not spectacular showing.
But from its earliest midnight screenings it was clear that Furious 7 wasn’t going to stick to the driver’s manual. Now, 11 days into its scorching China run, Furious 7 has amassed an incredible total of $280 million in China, and will likely finish up at about $375 million. With a May Day holiday boost and a bit of luck it could even approach $400 million. China is absolutely mad for Furious.
What was unthinkable just a few weeks ago is now a certainty: Furious 7 will not only beat the previous PRC record holder, Transformers 4, by a wide margin, but is also certain to top its own North American total. While it’s not unprecedented for films that do moderately well in North America to perform better in China than in their home territory (e.g., Pacific Rim), never before has a bona fide American smash hit exceeded its own domestic gross in a foreign territory. This is truly uncharted territory.
Source: Pacific Bridge Pictures research
What happened? Let’s break it down.
Furious 7’s success in the Middle Kingdom can be explained partly by the same factors that made it a winner everywhere: quality marketing, high ‘want-to-see’ factor, and strong word of mouth. But several factors worked especially well in China to drive the film to its world-beating grosses:
- Advantageous release date. What first appeared to be a so-so Sunday release slot proved not to be a problem, mainly because Furious faced no Hollywood competition in its opening week, and it has flattened the Chinese films unfortunate enough to stand in its way. Even Chinese megastar Fan BingBing proved no match for Diesel, Walker and company, as her romance Ever Since We Love scored only $11 million this past weekend against nearly $90 million for F7.
- Massive release pattern. With an allocation of more than 70 percent of China’s screens, and more than 90,000 showtimes per day, this undoubtedly ranks as one of the widest releases ever seen. It’s only on the film’s third weekend that Furious will control less than half of all PRC screens as DWA’s Home and Arnold Schwarzenegger’s Sabotage arrive in mainland theaters.
- First-class promotion. With the two-year gap since Fast and Furious 6, Universal had plenty of lead time to work with SARFT and China Film Group–an investor in the film–to arrange a smooth release and mount a stellar marketing campaign. With CFG’s clout behind it and with its new China executive team in Beijing, the studio was able to support Furious 7 with more on-the-ground resources than with any past release.
- Strong word of mouth. Furious notched a very high 8.5 rating on audience review site Douban.com as word spread like wildfire that Furious 7 is FUN.
- The Paul Walker factor. Curiosity to see the final ride into the sunset of the well-liked actor who was in many ways the heart of this franchise drew numerous Fast and Furious newbies to Chinese multiplexes. Granted, this was an important factor in most of the world, but probably more so in China, where social media can instantly make or break a movie. According to a charming Chinese banker friend of mine, Paul Walker was THE trending topic of conversation on WeChat as the film rolled out.
- The right movie at the right time. Furious 7 is precisely the sort of big budget, effects-driven, Hollywood action spectacular that Chinese audiences love best. Sure, superhero movies are nice, but as the Transformers franchise has amply demonstrated, what the PRC really wants is machine porn: movies featuring monster machines that race and fly and do gravity defying stunts to save the world. It had been nearly a year since the last such film in this genre, Transformers 4, had graced China’s screens, so there was lots of pent-up demand for a film like F7 when it arrived.
There’s talk around the industry that Universal hasn’t yet decided whether to produce another installment of what is now the 8th highest grossing movie franchise in Hollywood history. That the ensemble of actors may not wish to come back for another film. To this I say, “If you believe that, there’s a Wall in China that I’d like to sell you.”
With all respect to the individuals involved, there is absolutely no way that Universal is going to put this golden goose down.
There are so many options Universal has now that Furious 7 has established its status as a juggernaut franchise in mainland China. They can produce the next installment of Fast and Furious as a co-production there and be reasonably assured of recouping their entire budget in the PRC alone, with the rest of the world, including North America, as gravy. If the cast doesn’t want to come back, re-boot it with a brand new cast. Or do a China spin-off with an all-Chinese cast. Do it with talking cars if necessary, for goodness’ sake! Or call me, I’ve got a script outline and treatment ready to go. But don’t think for a second about trying to stop this mean, green, driving machine.
Robert Cain is a producer and entertainment industry consultant who has been doing business in China since 1987. He can be reached at rob@pacificbridgepics.com and at www.pacificbridgepics.com
Fox scores with “Museum” while Sony strikes out with “Annie” in China
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By Robert Cain for China Film Biz
January 14, 2015
The first full box office week of 2015 saw two studio film releases that spanned the spectrum of rankings from top to bottom: Fox’s Night at the Museum: Secret of the Tomb snagged the top spot with $26.5 million, while Sony’s Annie came in last among new releases with a hair-curling $355,000, possibly the poorest opening ever for a major Hollywood studio film in China.
Both Museum and Miss Granny, the Chinese remake of the Korean comedy hit of the same name (수상한 그녀) knocked Tsui Hark’s The Taking of Tiger Mountain out of the number one spot, which it had occupied for the previous two weeks. With its $132 million total as of this writing, Tiger Mountain is now the 6th highest grossing Chinese language film of all time, and the 3rd biggest 2014 release after Breakup Buddies and The Monkey King.
Night at the Museum’s take is especially impressive considering that this is the first installment of that franchise to enjoy a PRC theatrical release. Its opening week numbers indicate a projected final gross north of $60 million, which should put it around the average for studio releases this year.
Annie, on the other hand, comes as a big surprise to the downside. Even taking into account its relatively modest release by China Film Group and Huaxia, with just 14,700 screenings during its first 3 days, the numbers are still mysteriously low, at just $23 per screening. By comparison, Khumba, a South African family animated film in its second week of release, earned more than double Annie’s average with $51 per screening. One wonders why Sony chose to use up a valuable release slot for the film, and even more, whether CFG and Huaxia put any effort into opening the picture.
Overall box office was strong at $80.4 million up 45 percent over the same frame in 2014. 2015 is off to a strong start after the blackout neutered December, with the first two weeks of this year running 46 percent ahead of last year.
Coming this week are the Jeff Bridges-Julianne Moore adventure vehicle The Seventh Son and the 3D reissue of Stephen Chow’s Kung Fu Hustle on January 16th, followed by The Hobbit: There and Back Again, which should clear at least $100 million if prior trends hold.
Robert Cain is a producer and entertainment industry consultant who has been doing business in China since 1987. He can be reached at rob@pacificbridgepics.com and at http://www.pacificbridgepics.com.
China’s Looming Toon Boom
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By Robert Cain for China Film Biz
March 30, 2014
Back in the early 1990s, at the request of film critic Michael Medved, I researched and then published a strategic and statistical analysis demonstrating that Hollywood’s studios were distributing too few children’s, family, and animated feature films. My analysis was picked up by the industry trades and the national press, where it attracted quite a bit of attention and stirred up controversy.
In a matter of days I received calls from the heads of Disney, Fox, Sony Pictures, the MPAA and Blockbuster, and within mere months after that most of the major studios had established new family divisions and ramped up their production of animated features and PG-rated family films. In the years since, these genres have consistently accounted for the studios’ very highest-grossing and most profitable films.
Recently, spurred by intuition, I decided to take a closer look at the situation in China’s film market. After delving into the numbers and the trends, it quickly became clear to me that China’s distributors would profit by distributing more quality films aimed at the family audience.
In fact, if my intuition is correct, family features, and animation in particular, ought to be among the fastest growing segments of the PRC’s film business over the next 3-5 years. Despite heavy investment and rhetorical support from China’s federal and provincial governments, these types of films currently capture a much smaller share of the market in the PRC than they do in North America. But I believe this is beginning to change as the Chinese audience broadens both geographically into the third and fourth tier cities, and demographically to families with children, and as marketing to these audiences improves.
Source: Pacific Bridge Pictures research
Animation is off to a rousing start in the first quarter of 2014, clearing $186 million in revenue in just three months, which puts it on pace to easily beat the previous full-year record of $261 million that was set last year. Given the line-up of animated features still to be released through December, I expect the cumulative gross for animation in 2014 will run to around $400 million. This would put animation’s share of China’s full-year gross at about 8.2 percent, up from 7.3 percent last year.
The first-quarter spoils have gone not just to imported big-budget Hollywood pictures, but increasingly to home-grown fare like The Boonie Bears, ranked third among animated films so far this year with a Chinese record-breaking $40 million gross, and Pleasant Goat: Meet the Pegasus, ranked fourth with $14 million in box office. It’s worth noting that both of these movies are spin-offs of popular Chinese children’s TV series.
Highlights for the rest of 2014 include the recently opened Dreamworks’ pic Mr. Peabody & Sherman, which is well on its way to a China gross of at least $24 million, Blue Sky and Fox’s Rio 2, opening on April 11, South Korea’s Koala Kid (aka The Outback) opening in early May, and Dreamworks’ How to Train Your Dragon 2, expected to open in August. Mr. Peabody‘s stronger-than-expected results will make it China’s third highest grossing non-sequel, non-spinoff animated release to date after The Croods and Frozen.
Source: Pacific Bridge Pictures research
Since China’s film authorities allow only 5 or 6 Hollywood animated films to be imported each year as revenue sharing “quota” films, it will fall to locally produced features to drive most of the family market’s future growth. And there are signs that China’s animation houses are getting ready to play their part. Although technical capabilities and story quality have been lacking in prior Chinese releases, the tide is turning with several new films in development based on screenplays by talented American writers, and funding and services from top Chinese animation houses.
Indeed, I’m so convinced of the scale of this opportunity that I have personally initiated two new animated film projects for China, one in partnership with a multiple Oscar winning animation producer and with a theatrical release commitment from a major Chinese distributor, and a second that has attracted Chinese investors even before the treatment is finished.
If, as I expect, animation’s share of the Chinese market rises to match that of North America, by the end of this decade the PRC will become the world’s biggest audience for animated feature films, with $1.5 billion and more in annual revenues. And that’s not kids stuff.
Robert Cain is a producer and entertainment industry consultant who has been doing business in China since 1987. He can be reached at rob@pacificbridgepics.com and at www.pacificbridgepics.com.
Who is La Peikang and How Did He Get Here?
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By Robert Cain for China Film Biz
February 11, 2013
There’s a new sheriff in town and his name is La.
OK, that didn’t quite have the gravitas I was going for. The point is that China’s New Year’s holiday week is over and the dominant organization of China’s film industry, China Film Group, has a new Chairman, La Peikang (喇培康).
La’s appointment to the PRC’s top film job signals a new direction and some interesting potential changes in the years ahead, both for Chinese filmmakers and distributors and their overseas counterparts. Namely, La’s extensive international experience overseas and in China’s co-production bureaucracy point to a likely increased focus by CFG on international cooperation and expansion.
Variously described by those who know him as “serious,” “educated and academic,” “quietly effective,” “well-liked” and “outward looking,” La could scarcely be more different than his predecessor, Han Sanping.
In the role he held for ten years, Han Sanping was a hustler, a mover-and-shaker who presided over the massive rise of China’s film industry from its status as a tiny backwater with a mere 0.7 percent share of the global box office in 2003 to its emergence as the world’s most dynamic movie territory, with a 10 percent (and rapidly rising) share of the worldwide pie in 2013.
I remember the early days of his tenure when Han Sanping would show up in Hollywood unknown and barely acknowledged, begging for meetings with studio execs, agents, movie stars, anyone who would pay attention. Most dismissed him in those days as unworthy of their time, because China was so negligible as a territory, let alone as a potential source of financing. But Han’s “Baqi” (覇气) loosely translated as “lord’s air” or “domineering spirit,” drove him to oversee the incredibly rapid modernization of the Chinese market, with the construction of 16,000 new cinema screens and a corresponding 2,700 percent increase in domestic box office receipts. Nowadays, thanks largely to Han’s contributions, China is on everyone’s mind, and it would be difficult to find a serious agent or executive who doesn’t know his name.
Given the legacy that Han created, La will find that the tables have turned and that studio heads and movie stars will eagerly, if not desperately, court his favor. Those who meet him will experience a completely different breed of Chinese movie czar. In contrast to Han’s bulldog approach, La is a more sophisticated executive, a fluent English and French speaker who is apparently viewed by China’s leaders as the right person to lead their country’s movie business to maturity and, they hope, to increasing global influence.
Before his appointment was announced, few anticipated that La would be the one to win the top job. It’s not that he lacked credentials—he was Deputy Chairman of the SARFT Film Bureau, and he had previously run an important CFG subsidiary, the internationally focused China Film Co-Production Company. But other candidates were more in the public eye, perhaps because they were more effective at outwardly promoting themselves.
When it came down to it though, it was La’s connections, his political skills, and his perceived loyalty to his Chinese Communist Party bosses that ultimately allowed him to prevail. He was chosen for the job by the Party’s ultra secretive, extraordinarily powerful Organization Department (中国共产党中央组织部), China’s political king-making office. Richard McGregor of The Financial Times described the Organization Department’s status thusly:
“To glean a sense of the dimensions of the Organization Department’s job, [imagine] a parallel body in Washington…that would oversee the appointments of every US state governor and their deputies; the mayors of big cities; heads of federal regulatory agencies; the chief executives of General Electric, ExxonMobil, Walmart and 50-odd of the remaining largest companies; justices on the Supreme Court; the editors of The New York Times, The Wall Street Journal and The Washington Post, the bosses of the television networks and cable stations, the presidents of Yale and Harvard and other big universities and the heads of think-tanks such as the Brookings Institution and the Heritage Foundation.”
This Organization Department controls more than 70 million party personnel assignments across the country, and it is no small matter to win their approval for senior party roles like La’s. Although, as McGregor wrote, “their vetting process takes place behind closed doors and appointments are announced without any explanation about why they have been made,” it’s not difficult to imagine intense lobbying, backbiting, mudslinging, and all manner of political fisticuffs. And La would have had to pass intense scrutiny– the Organization Department has access to dossiers and background checking capabilities that put the CIA and NSA to shame.
So don’t let La’s quiet, academic demeanor fool you; he’s undoubtedly as tough and effective as they come in China’s political bureaucracy. And that’s saying a lot.
Robert Cain is a producer and entertainment industry consultant who has been doing business in China since 1987. He can be reached at rob@pacificbridgepics.com and at www.pacificbridgepics.com.
Warner Bros’ Stellar Year in China
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By Robert Cain for China Film Biz
November 21, 2013
Having already clinched bragging rights as the top-grossing Hollywood studio in China this year, Warner Bros further cemented its lead with the excellent rollout of Gravity on Tuesday. With nearly $10 million in ticket sales in its first two days of PRC release, and what I’m estimating will be at least a $70 million final tally, Gravity should push Warners’ 2013 total in China to around $325 million.
This will mark the first time I can remember when Warners will have won the China box office crown. It will also reflect an impressive 80 percent revenue boost over Warners’ respectable, albeit distant second-place finish to Fox in 2012. With such box office hits as Pacific Rim, Man of Steel, The Hobbit: An Unexpected Journey and now Gravity, Warners will average about $54 million in ticket sales per picture.
Second place in the studio derby this year will go to Disney, whose Marvel superhero offerings Iron Man 3 and Thor 2 will account for around $175 million of that studio’s $250 million annual take.
Sony and Fox will finish third and fourth, respectively, with Fox falling off precipitously from its record-holding $376 million China gross in 2012. Sony had only one strong release with Skyfall back in January, but it was able to get more films into China than any other studio and in aggregate managed to cobble together more than $200 million in gross revenue. Although Fox got solid results in 2013 from The Croods (a Dreamworks animated picture) and Wolverine, it couldn’t match the huge numbers of last year’s Titanic 3D, Life of Pi and Ice Age 3 and wound up with less than half of last year’s gross with around $176 million.
Universal and Paramount, the two studios with the least active presence in China, received the fewest import quota slots and grossed the least among the majors, with about $159 million and $129 million respectively.
At last week’s box office, U.S. films captured the top three slots, although two of these were buyout films. Thor: The Dark World and Escape Plan won the top two spots for their second week in a row with $24.9 million and $13.3 million, respectively. New entry Red 2 picked up $5.9 million in its first three days, enough to handily beat the $4.9 million that Red collected during its entire run in 2011. Total nationwide box office was $54 million for the week, a 57 percent increase over the same period last year.
U.S. films will see another week or two of relative prosperity before the year-end Chinese tent-poles move in and grab all the spoils in December and January. Look for big results from The White Storm, which releases on November 29th, followed by big December debuts from No Man’s Land, The Four 2, Firestorm, Personal Tailor and Police Story. By year’s end, Hollywood movies will land only 2 of the top 10 spots at China’s box office in 2013, down from 7 last year and 6 in 2011.
In aggregate, U.S. distributors will manage only a meager 5 to 6 percent increase in their China sales this year, a mere fraction of the 60 percent gain that Chinese language films have enjoyed. Hollywood has let yet another year go by doing little more than lobbing movies into China from across the Pacific, and it has paid the price with a precipitous drop in market share.
Meanwhile, aggressive non-Chinese players like Australia’s Village Roadshow and Korea’s CJ Entertainment have stepped into the breach with highly successful Mandarin language co-productions. And local Chinese players are rapidly growing in competitive strength, as exemplified by Huayi Brothers’ massive increase in its stock market capitalization to $5.2 billion from only $1 billion a year ago. Many of these companies have established beachheads in the U.S., and it won’t be long before their growing financial strength in China will enable them to compete effectively with the stodgy U.S. studios and further erode their diminishing dominance of the global film market.
Robert Cain is a producer and entertainment industry consultant who has been doing business in China since 1987. He can be reached at rob@pacificbridgepics.com and at www.pacificbridgepics.com.
Sly and Arnold’s Career Re-birth in China
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By Robert Cain for China Film Biz (Bennett, Janet and Thomas, this one’s for you)
November 14, 2013
Long before they reach retirement age, most action movie stars naturally slide (or sometimes plummet) into box office obscurity. At 67 and 66 years of age, respectively, Sylvester Stallone and Arnold Schwarzenegger have valiantly fought this trend, but they are long past their peak box office years in most places around the world.
But not in China. PRC audiences have embraced these two senior citizens and breathed new life into their action movie careers. In a land where the young are taught to treat their elders with respect, Schwarzenegger and Stallone’s recent film offerings have gotten lots of love from China’s teenaged and twenty-something filmgoers.
Take the pair’s current action-thriller, Escape Plan. In its first 10 days of release the picture has already grossed more in China, with nearly $26 million, than it will earn in its entire North American run. It nearly won last week’s box office crown against the far costlier Thor: The Dark World, with a 128 million RMB total versus Thor’s 129 million, despite Thor’s huge advantages of a bigger screen count, higher 3D ticket prices, and a rare day-and-date PRC release. Escape Plan will wind up with around $35 million in China, making it the highest grossing buyout film this year.
In fact, between them Sly and Arnold have appeared in 5 films that have each grossed more than 100 million RMB at China’s theaters, an exceptional record that is matched by few Chinese stars. Their core audience in China has no doubt grown up watching the pantheon of Rocky, Rambo and Terminator movies on TV and DVD, and is now finally getting their chance to see their movie heroes on the big screen.
With such a big, welcoming audience in China, Sly and Arnold are undoubtedly looking for more movie vehicles to propel their newly vibrant careers. So I offer a few ideas below, completely free of charge (just send me my participation checks when the profits roll in):
Not So Total Recall. This action flick kicks follows a geriatric man who goes for a virtual vacation but is tragically unable to enjoy the early-bird Chinese buffet because he’s forgotten to bring along his virtual dentures.
The Lost Action Hero. A young Chinese fanboy’s dream of teaming up with his favorite 80’s action movie hero turns sour when he finds the now enfeebled and amnesia-prone codger stuck on Beijing’s 3rd ring road, unable to find a way to exit and make his way back to the retirement village.
The Dependables – a team of elderly mercenaries are stymied in their attempt to eliminate a North Korean dictator when the dictator’s henchmen cruelly cut off their supply of adult diapers.
Stop or My Great Granddaughter Will Shoot – a once-tough detective’s life and work are disrupted by a Golden Week visit from his 6 year-old, pacifier sucking descendant, who embarrasses him by turning out to be a better crime-fighter than he is.
Rocky Rolls – 78 year-old Rocky Balboa comes back for one more title bout staged in the Forbidden City, fighting this time from his electric wheelchair. You’ll cry tears of nostalgia as you watch Rocky slowly glide up the steps of Beijing’s Temple of Heaven, arms raised in victory, in his wheelchair stair climber.
For the week ending November 10th, PRC box office totaled a solid $56 million, 43 percent better than the same frame last year. After the one-two finish of Thor and Escape Plan, Hotel Transylvania took in $3.5 million in its second week of release for a two-week cume of $9.3 million, quite respectable considering its status as a buyout film and its China release delay of more than a year.
Russia’s Stalingrad crumbled against the Hollywood competition, dropping by nearly 70 percent in its second week. Although it debuted at number one in the prior week—making it the first non-Hollywood, non-Chinese movie to top the charts in China—the film has quickly faded and will fail to reach the 100 million RMB level.
The rest of November and December will witness a crush of new releases, more than in any previous year. On Singles Day (an unofficial holiday on 11-11) nine new domestic releases cannibalized each other, leaving nearly all of them with dismal results. November 15th will see Red 2 and Olympus Has Fallen open against each other, and early next week Gravity, Rush, and the Hunger Games sequel Catching Fire will all open within a few days of one other.
Although China’s box office results in November have so far fallen a little short of general expectations, the rest of the year should be flush with activity and the year-end tally should well exceed $3.5 billion.
Robert Cain is a producer and entertainment industry consultant who has been doing business in China since 1987. He can be reached at rob@pacificbridgepics.com and at www.pacificbridgepics.com.
China’s Monster Summer
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By Robert Cain for China Film Biz
August 22, 2013
The disturbing drought that plagued Hollywood’s movies in China through the first half of 2013 has been quenched, at least temporarily, by a string of box office successes that began in July. Chief among these has been Pacific Rim, a monsters-meet-robots spectacle that couldn’t have been more perfectly aimed at Chinese moviegoers. In its first three weeks of PRC release (as of Thursday August 22nd) the film has devoured $109 million in receipts, good enough for 2nd place this year among all Hollywood imports, and better by far than the $98.7 million the film has earned in North America.
While some might attribute Pacific Rim’s PRC success to its giant CG robots—the Transformers franchise is after all the highest grossing movie series in China’s history—I’d like to make the case that the film’s massive monsters are at least as responsible for scaring up Chinese ticket sales. Chinese audiences love a good monster movie as much as anyone, but the country’s strict censorship policies have restricted the homegrown monster movie quotient to practically zero. It’s a quirk of the Chinese film administration’s policies that monsters can invade China—or its theaters, anyway—from overseas, but they’re generally prohibited from breeding, hatching, or emerging from slimy lagoons onshore in the Middle Kingdom.
Further proof of my theory can be found in this week’s monster opening of Jurassic Park 3D, Universal’s reissue of the 20-year old Steven Spielberg dinosaurs-gone-wild classic. With almost $17 million in Chinese revenue in its first three days, the film ranks as the fourth biggest foreign opener of 2013 and is is well on its way to becoming the biggest grossing re-release of the past 12 months. Although the grosses for reissues tend to quickly fall off, the pattern so far suggests a final gross in the $30 million to $40 million range, which would make it China’s second highest grossing 3D re-release ever—albeit a far distant second—to 2012’s Titanic 3D.
The next ‘monster’ movie up is of a more kid-friendly variety, Pixar’s Monsters University, which is scheduled to open on Friday, August 23rd. China’s monster mania may help the film to break the Pixar curse, which has seen most of that animation studio’s films open poorly in the PRC and quickly fade away. With little family-fare competition I expect Monsters U to take at least $25 million in China, which would put it well above Toy Story 3’s $16.7 million gross in 2010, Cars 2’s $11.9 million in 2011, and Brave‘s dismal $4.7 million in 2012.
Last week’s box office saw Pacific Rim win its third week in a row, the first time that’s happened for a Hollywood film in 2013 (the China/Hong Kong co-pro Journey to the West won 5 straight weeks in February and March). Tiny Times 2, the sequel to July’s teen girl-oriented hit Tiny Times, ran up its total to $44 million with a $17 million second place finish. And Fan Bingbing’s romantic comedy One Night Surprise from writer-director Jin Yimeng (Sophie’s Revenge) took third with $15 million, proving the rom-com genre’s continuing strength with Chinese audiences.
Bona’s boxing flick Unbeatable took fourth place with $9 million on generally positive reviews. Rounding out the top 5 was Wanda Media’s disappointing release The Palace, which managed just $7.4 million in its first 7 days despite the huge opening screen count allocated by its sister company, theatrical exhibitor Wanda Cinema Line. This marks Wanda’s second flop in a row after Man of Tai Chi. Wanda is new at the feature production game, and with its deep pockets the company presumably has the staying power to get enough at bats to eventually generate some homeruns.
Robert Cain is a producer and entertainment industry consultant who has been doing business in China since 1987. He can be reached at rob@pacificbridgepics.com and at www.pacificbridgepics.com.
chinafilmbiz 中国电影业务 