The U.S. is a second-class blockbuster nation.
(All box office statistics from Box Office Mojo)
As more and more Hollywood studio tentpoles do more and more of their business overseas, the above statement becomes more and more true. America, while still a box-office titan, is becoming a second-class blockbuster nation. But not just to any one country – to the rest of the world as a whole. Look at some recent examples:
Pacific Rim – Worldwide Gross: $411,002,906; Domestic Gross: $101,802,906 (24.8%); Foreign Gross: $309,200,000 (75.2%)
Gravity – Worldwide: $716,392,705; Domestic: $274,092,705 (38.3%); Foreign: $442,300,000 (61.7%)
The Amazing Spider-Man 2 – Worldwide: $633,169,864; Domestic: $172,169,864 (27.2%); Foreign: $416,000,000 (72.8%) – (still in theaters)
Notice a trend? These three films aren’t isolated incidents, but part of a larger pattern that shows a massive shift not necessarily in how American films do overseas (they’ve always been massively successful in foreign cinemas; the majority of screens in other countries show U.S. films, often times dubbed, as opposed to movies from their own country), but in how this money compares to the business these films do here. Foreign box-office is no longer just a portion of a film’s overall take, for blockbusters, it’s often times the biggest portion. Three of last year’s 5 top-grossing films (#2, Iron Man 2, #3, Frozen, and #4, Despicable Me 2) did more than 60% of their business overseas, while the other two in the top 5 (#1, The Hunger Games: Catching Fire, and #5, Man of Steel), accounted for more than 50% of their box-office from foreign grosses. And we’re not talking chump change.
Put simply, foreign box-office rules blockbuster movies today (indie films and studio prestige pictures play in a different, less expensive ballpark). If Pacific Rim gets a sequel, it’s because international audiences want it, not because U.S. moviegoers do (not that I’d complain about getting Guillermo Del Toro another $190 million dollar movie to play with). The Amazing Spider-Man 2 may be getting stomped on in the U.S. by the combined power of Godzilla and Zack Effron’s abs, but overseas it’s doing pretty well (even though its overall take will probably be less than the first ASM, and therefore be the lowest-grossing film of the series; that’s a conversation for another time).
Why is this happening? Well one reason might be the fact that foreign audiences are just hungrier for special-effect filled, blockbuster films. In the U.S. we’re very much used to seeing these kinds of pictures. In fact, the average moviegoer might be confounded by the very idea of a blockbuster that doesn’t rely heavily on CGI and other digital wizardry. The studio system of the U.S. is rich, and the infrastructure is constructed in such a way that studios here can afford to bankroll $250 million dollar films (like ASM2), while studios in other countries simply can’t. Spain, for example, has a very weak, highly exclusive film industry, and can’t afford to spend even $100 million on a tentpole film (and for those of you who think $100 million is high, you don’t know Hollywood – most tentpole films cost between $150 and $200 million, with some bigger films like Spider-Man or X-Men: Days of Future Past getting $250 million or higher budgets). These countries aren’t domestically capable of producing CGI spectacle films, and the U.S. is happy to fill that gap for viewers. Foreign markets aren’t as oversaturated with blockbusters as the U.S. is – many countries (such as Spain and South Korea) have quota systems in place to ensure domestic films get into theaters, thus preventing Hollywood from totally dominating, but without comparable studios, these countries have no other way to fulfill demand for spectacle other than to release U.S. films. Foreign audiences get from American pictures what they can’t get from their own.
To that, I’d like to posit another idea: maybe the U.S. is losing its sense of filmgoing awe. We are living in an age of casual magic (and I strongly suggest you read the linked article, both because its author is an excellent writer, and because it raises some powerful points about films and filmmaking today). Because of all these blockbusters, we have become used to seeing the amazing. We expect it. And filmmakers are still trying to figure out how to wow us again. That’s why a lot of these movies don’t make as much money at the domestic box office as they do abroad. In America, we look at a giant robot wrestling with a massive monster in the middle of the Pacific ocean and shrug to say “what else you got?” In an age where pretty much anything we can imagine can be created on a computer, filmmakers have exploited their new abilities so much that we’ve become numb to it. Spectacle has become so much of a focus that actual storytelling has become lost in the process, and the box office says that as a nation, we appear to be unimpressed.
But all is not lost. Some filmmakers are still trying to create magic that awes us. Alfonso Cuarón, with Gravity, is proof of that. So is Gaerth Edwards, who’s Godzilla was just released last Friday. These, and others, are movies that treat their massive budgets and CGI wizardry not as a fact but an opportunity. They want to show us things we’ve never seen before, but more importantly, they want us to be amazed by them. For filmmakers like this, a blockbuster isn’t an obligation to throw a bunch of money and pixels at a screen and hope audiences will swallow whatever crap they wrap it around (I’m looking at you, Amazing Spider-Man 2 and Transformers). It’s a chance to create. And maybe U.S. audiences are catching onto that idea. The box-office numbers for Gravity and Godzilla are prove that. Audiences are demanding blockbusters that give them the unexpected, that show them something truly awe-inspiring, and there are filmmakers fighting to do just that.
I hope they win.
