Day_Walker
All Star
Better no question
Shocking!!!! N.W.A is winning BIG Time! Check the NUMBERS!
- Thread starter Prominence0
- Start date
it would easily beat their overseas number if they did it a same quality film about tupac.
people in other countries didn't seem to care about this movie. which makes it even more amazing that it still did numbers.
but tupac has an international fan base. that have murals in africa. the leader of north korea is probably a tupac fan.
so yeah if they do a good job. it could do record biopic number. not avengers level but certainly tops in its genre.
Been bumpin a lot of old west coast shyt since I saw the movie, there hasn't really been many hiphop movies in recent years and it def captured the nostalgic feeling that exists in entertainment period now
Nobodyknows
All Star
Maybe rappers will anknowledge that their music doesn't have to be shyt to hit the charts
Nobodyknows
All Star
Despite passing on Universal's surprise hip-hop blockbuster, WB still could make at least $5 million (with Ice Cube and Dr. Dre) on its backend — including a cut of home entertainment revenue.
A version of this story first appeared in the Sept. 4 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
Warner Bros. may have lost Straight Outta Compton to Universal, but there’s a silver lining: Sources say it will earn at least $5 million — and possibly millions more — from its share of the movie.
The studio is one of several net profit participants — including producers Ice Cube and Dr. Dre, who also stand to make multiple millions after forgoing their up-front fees. (There are no "first-dollar" or "gross" participants.)
How the net profits are defined, of course, is crucial. Insiders believe Warners gets its money at "cash break zero" — that is, when production and marketing costs have been covered, without factoring in Universal’s 10 percent to 12 percent distribution fee.
Let’s assume the movie crosses $300 million worldwide (though nobody is predicting where it will top out). Roughly half of that goes back to Universal in "rentals" — that is, $150 million.
The studio then peels off $29 million in production costs, plus an estimated $60 million for marketing, leaving a net profit of around $61 million. With roughly 5 percent of the pie, Warners makes more than $3 million from theatrical revenue.
But that’s not all. The studio also gets a cut of home entertainment, pay and broadcast TV — which could double or even triple its take. (Historically, theatrical profit was estimated to be around one-third of the total; recently it has inched up to almost half.) That means it could make another $3 million to $6 million, and more if Compton continues to surge at the box office.
Read More Warner Bros.' Chilly Summer Puts Execs in the Hot Seat (Analysis)
That’s nowhere near the amount Universal and co-financier Legendary Entertainment will make, but not bad for a picture in which Warners had no risk.
Still, it’s a bittersweet pill for Toby Emmerich, the president of Warners’ New Line Cinema, who developed the movie for six years before Warners’ green-light committee deemed it too expensive.
The project began with writers S. Leigh Savidge and Alan Wenkus, who in early 2004 brought their script about N.W.A co-founder Eazy-E to Bill Straus, a former New Line executive turned producer.
For the next two years, Straus developed it with Circle of Confusion’s David Engel, spending much of that time fighting just to get a meeting with Eazy’s widow, Tomica Woods-Wright, who controlled the music rights. Eventually, a friend got her the script.
"She came in to Circle of Confusion, and we met with her," said Straus. "The first hour she was very guarded, and then she took off her shoes, she started crying, she got emotional — and it was a beautiful meeting. It ceased to be a business meeting, and more like group therapy."
With Woods-Wright onboard, the group took the project to Emmerich, who attached Ice Cube and his producing partner, Matt Alvarez, who essentially took it over.
"Cube and I probably in 2002 had started talking about making an N.W.A movie," says Alvarez. "But Cube felt he wasn’t quite ready to tell that story." One reason he changed his mind: "If you don’t get involved, they could do it the wrong way."
Cube wanted the story to focus on the group and not just Eazy-E, and he and Emmerich hired screenwriter Andrea Berloff (World Trade Center) to rework the script.
Attempts to persuade Dre to join the team dovetailed with a labyrinthine attempt to buy the music rights.
Read More 'Straight Outta Compton' Heading Straight Outta America
Executives came and went along the way (Luke Ryan, Michele Weiss, Dave Neustadter), all pushing to make the film. When F. Gary Gray was hired to direct, and Dre agreed to become one of the producers, the team was ready to move forward.
But Warners had a budget threshold. Looking at other music- and African-American-themed pictures, it wanted to limit Compton’s cost to the mid-teens. That was too low for the producers, who asked to take it elsewhere.
"Toby was an advocate for this movie," says Alvarez. "He came out of the music business, and he’d run the music division at New Line. He would have made this no matter what."
Emmerich agreed to put it in turnaround. Universal snapped it up.
Writer Jonathan Herman was brought in to rework the Berloff script, adding elements of Dre’s life that had not been included in previous drafts. (Others writers, such as Cheo Hodari Coker, also contributed to the script.)
Universal gave the movie a go-ahead in early 2014 — only for everything to crash again during preproduction. With costs now in the mid-$30 millions, the studio halted work until the 145-page screenplay could be trimmed.
"We were at an impasse with Universal in terms of the script that we had and the amount it was going to cost," says Alvarez. "We all agreed to shut down preproduction, and worked on the script to get it down to a place where we were able to find a happy medium."
Part of that happy medium involved Cube and Dre agreeing to advance some of their own money, as well as lose their up-front salaries.
"They technically did write Universal a check for accounting purposes," says one person familiar with the deal. "But after opening weekend, they were reimbursed immediately."
The picture was go. The budget was set at $29 million. And after crossing the $100 million mark at the box office this weekend, the only question that remains is how far Compton will go
A version of this story first appeared in the Sept. 4 issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
Warner Bros. may have lost Straight Outta Compton to Universal, but there’s a silver lining: Sources say it will earn at least $5 million — and possibly millions more — from its share of the movie.
The studio is one of several net profit participants — including producers Ice Cube and Dr. Dre, who also stand to make multiple millions after forgoing their up-front fees. (There are no "first-dollar" or "gross" participants.)
How the net profits are defined, of course, is crucial. Insiders believe Warners gets its money at "cash break zero" — that is, when production and marketing costs have been covered, without factoring in Universal’s 10 percent to 12 percent distribution fee.
Let’s assume the movie crosses $300 million worldwide (though nobody is predicting where it will top out). Roughly half of that goes back to Universal in "rentals" — that is, $150 million.
The studio then peels off $29 million in production costs, plus an estimated $60 million for marketing, leaving a net profit of around $61 million. With roughly 5 percent of the pie, Warners makes more than $3 million from theatrical revenue.
But that’s not all. The studio also gets a cut of home entertainment, pay and broadcast TV — which could double or even triple its take. (Historically, theatrical profit was estimated to be around one-third of the total; recently it has inched up to almost half.) That means it could make another $3 million to $6 million, and more if Compton continues to surge at the box office.
Read More Warner Bros.' Chilly Summer Puts Execs in the Hot Seat (Analysis)
That’s nowhere near the amount Universal and co-financier Legendary Entertainment will make, but not bad for a picture in which Warners had no risk.
Still, it’s a bittersweet pill for Toby Emmerich, the president of Warners’ New Line Cinema, who developed the movie for six years before Warners’ green-light committee deemed it too expensive.
The project began with writers S. Leigh Savidge and Alan Wenkus, who in early 2004 brought their script about N.W.A co-founder Eazy-E to Bill Straus, a former New Line executive turned producer.
For the next two years, Straus developed it with Circle of Confusion’s David Engel, spending much of that time fighting just to get a meeting with Eazy’s widow, Tomica Woods-Wright, who controlled the music rights. Eventually, a friend got her the script.
"She came in to Circle of Confusion, and we met with her," said Straus. "The first hour she was very guarded, and then she took off her shoes, she started crying, she got emotional — and it was a beautiful meeting. It ceased to be a business meeting, and more like group therapy."
With Woods-Wright onboard, the group took the project to Emmerich, who attached Ice Cube and his producing partner, Matt Alvarez, who essentially took it over.
"Cube and I probably in 2002 had started talking about making an N.W.A movie," says Alvarez. "But Cube felt he wasn’t quite ready to tell that story." One reason he changed his mind: "If you don’t get involved, they could do it the wrong way."
Cube wanted the story to focus on the group and not just Eazy-E, and he and Emmerich hired screenwriter Andrea Berloff (World Trade Center) to rework the script.
Attempts to persuade Dre to join the team dovetailed with a labyrinthine attempt to buy the music rights.
Read More 'Straight Outta Compton' Heading Straight Outta America
Executives came and went along the way (Luke Ryan, Michele Weiss, Dave Neustadter), all pushing to make the film. When F. Gary Gray was hired to direct, and Dre agreed to become one of the producers, the team was ready to move forward.
But Warners had a budget threshold. Looking at other music- and African-American-themed pictures, it wanted to limit Compton’s cost to the mid-teens. That was too low for the producers, who asked to take it elsewhere.
"Toby was an advocate for this movie," says Alvarez. "He came out of the music business, and he’d run the music division at New Line. He would have made this no matter what."
Emmerich agreed to put it in turnaround. Universal snapped it up.
Writer Jonathan Herman was brought in to rework the Berloff script, adding elements of Dre’s life that had not been included in previous drafts. (Others writers, such as Cheo Hodari Coker, also contributed to the script.)
Universal gave the movie a go-ahead in early 2014 — only for everything to crash again during preproduction. With costs now in the mid-$30 millions, the studio halted work until the 145-page screenplay could be trimmed.
"We were at an impasse with Universal in terms of the script that we had and the amount it was going to cost," says Alvarez. "We all agreed to shut down preproduction, and worked on the script to get it down to a place where we were able to find a happy medium."
Part of that happy medium involved Cube and Dre agreeing to advance some of their own money, as well as lose their up-front salaries.
"They technically did write Universal a check for accounting purposes," says one person familiar with the deal. "But after opening weekend, they were reimbursed immediately."
The picture was go. The budget was set at $29 million. And after crossing the $100 million mark at the box office this weekend, the only question that remains is how far Compton will go
keep dreamin brehMaybe rappers will anknowledge that their music doesn't have to be shyt to hit the charts
Great!
The only think that I don't like about this is that little white kids (and some younger black kids) who want to be cool will be annoying and keep talking about them & singing their songs pretending like they knew who they were before the movie came out.
The only think that I don't like about this is that little white kids (and some younger black kids) who want to be cool will be annoying and keep talking about them & singing their songs pretending like they knew who they were before the movie came out.
Mike Otherz
All Star
so cube and dre basically help pay for this movie to even be made? they gonna get credit for that? or is Universal gonna take all of it? also PE fans need to realise, the fact that Cube and Dre have paper is prolly why this film was greenlit. PE not balling like that. aint no conspiracy. the $35 million budget version prolly had the dee barnes scene in it.
also, $60 million marketing….
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That 60 million in marketing is crazy
.....They better have receipts for that shyt
I always thought marketing was already included in the 35 million dollar budget it took to make the movie....I don't think all the marketing was that necessary either,people who wanted to see it didn't need to see commercials a year in advance for it.....plus you cant predict it in advance,but this movie is so great word of mouth would've carried it a lot too I think.
The other crazy detail is that it started out as just a Eazy E biopic,I'm glad it got turned into a NWA biopic as much as I like Eazy E...Eazy still got to steal the show overall,studio was really on that bullshyt when it was talkin about a 10 million dollar budget
....So I think you right about the fact Dre and CUbe having money does help.Also I wonder how much Cube and Dre make on this movie,I know its already been questioned in this thread....But I'm only wondering because for all the hard work that goes into making movies its hard to imagine you only get a small percentage of the profits....It said Universal stands to make 5 million along with Cube and Dre....so are Cube and Dre also only getting 5 million? I was hoping Ren and Yella would see sumthing close to 5 mil,but if that's all Cube and Dre getting
?Hopefully I'm reading that wrong
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G.O.A.T Squad Spokesman
Logic Is Absent Wherever Hate Is Present
This movie is having the impact on this generation almost like Menace To Society had on my generation. Imagine if O'Dog had an album, that shyt would sell like SOC is selling now.
