Studios pray that their films have a good “hold” in their second weekend of release.
That means the audience drop won’t be dramatic – think 30-40 percent as opposed to 60 or, gulp, 70 percent. Positive word of mouth helps the former, while bad buzz creates the latter.
“Project Hail Mary” is a fine example of a film that faded oh, so slowly, thanks to glowing word-of-mouth responses.
It’s just Hollywood math, but apparently Curry Barker skipped those classes.
The director’s first film, “Obsession” didn’t drop during its second weekend.
It grew.
Deadline reports “Obsession” earned 26 percent MORE in the last three days compared to its debut frame. (Final figures may be slightly different).
That’s not a typo.
The indie film has earned $55 million stateside, so far.
That shocking second weekend number came against “The Mandalorian and Grogu,” a film that is underperforming for a “Star Wars” entry but still generating millions in ticket sales.
That’s not the best part for Team Barker. He made the film for a microscopic amount – under $1 million. It may become one of the most profitable films of all time.
Barker is no stranger to tiny budgets. His breakthrough short film, “Milk & Serial,” cost just $800.
The weekend comparison couldn’t be more jarring, comparing title to title. “The Mandalorian and Grogu” is all lazy IP storytelling. It’s a film bereft of clever dialogue, engaging new characters and compelling narratives.
“Obsession” follows a young man who is granted any wish he chooses. He asks for his crush to fall in love with him, but the ramifications of the wish prove unnerving.
The plot sounds intriguing, but it’s hardly revolutionary. So what explains that crazy, word-of-mouth enthusiasm?
Look at Rotten Tomatoes. The site’s critic’s score and audience score are currently identical – 95 percent “fresh.”
That’s very rare.
Barker shared some of his filmmaking philosophies with AL.com, including how he got here in the first place. He recommends fledgling filmmakers embrace “quantity” over “quality,” at least at first.
“Make 10 s****y films and allow it to be bad and give yourself that permission, so you can earn your stripes.”
He’s done just that. “Obsession” put him on the map, and he’s already signed up to revive the dying “Texas Chainsaw Massacre” saga.
Hollywood will never give up on aging IPs and big-budget blockbusters. But whenever a movie like “Obsession” overperforms, it’s a sign that audiences will never stop craving something else.
Quality.
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