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DID YOU READ

3D movies by the numbers

3D movies by the numbers (photo)

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When I went to see “Captain America: The First Avenger,” last weekend, I picked a 2D screening. I’ve grown increasingly disenchanted with films shot in 2D and exhibited in 3D like “Captain America,” so I figured I’d save a few bucks. But when I arrived at the theater for the film, there was a problem: the management had booked a 2D “Cap” screening into an auditorium configured for 3D. After a few minutes scrambling to change their projector, the theater staff announced that nothing could be done: the film would be shown in 3D and everyone would be given a pair of free 3D glasses.

At that point, the entire sold-out theater of some 400 people burst into boos.

Clearly I wasn’t the only one getting disenchanted with these 2.5D movies. Maybe that’s why I was so interested to read this recent essay on DavidBordwell.net by Kristin Thompson. Her information might not be new, but I don’t know if I’ve ever seen box office statistics for 3D movies analyzed so thoroughly and so cogently. All her facts and figures are widely available on sites like Box Office Mojo, but they’re lacking Thompson’s common sense analysis and smart criticism.

I’m particularly impressed with the way Thompson breaks down the percentages of grosses that movies like “Captain America” make from 3D and 2D theaters. She begins by asking a simple but important question: how much money do 3D movies really bring in?

“The basic fact is that the money brought in by a film made in 3D only amounts to the supplement paid by the spectator beyond what he or she would have paid if the film were in 2D. Let’s assume that the supplement is $3 and that a 3D admission costs $12 and a 2D one $9… removing the $3 supplement takes away 25% of the ticket price. So what the 3D process as such really adds to the box-office total is 10% (that’s 25% of 40% [of all tickets sold for a movie available in either 3D and 2D]). To put it another way, $9 of the $12 for the ticket is just for the film qua film, the rest is for its being in 3D.”

A great point that no one ever mentions. When we say “This movie made $35 million dollars at its 3D theaters,” we’re not considering the fact that 75% of the $35 million customers paid was for the film itself, with just the remaining 25% relating to the upcharge of 3D. And here’s one more great point:

“Consider the opening weekend of ‘Captain America,’ which grossed $65.7 million, 40% of which came from theaters equipped with 3D. But it’s really 10% by my reasoning, so it’s not $26.3 million that 3D generated, but $6.57 million. Assuming further that it costs about $30 million to make a film in 3D or convert it to 3D in post-production, ‘Captain America’ would have to run in the U.S. market for around four weeks with no decline in attendance to break even on 3D. But most films decline on their second weekend, unless they open in more theaters or have terrific word of mouth. Even “The Lord of the Rings: The Fellowship of the Ring,” which had lots of repeat business, declined 19% on its second weekend.”

Thompson’s math might not be perfect; I think $30 million is the generally reported cost to shoot a movie in 3D like “Transformers: Dark of the Moon.” Converting a 2D movie like “Captain America” to 3D in post-production is significantly less expensive. Still Thompson’s reasoning is sound: if only 10% of a film’s grosses can be set aside to offset the cost of 3D, a movie earning just 40% of its money from 3D screens would have to be an enormous box office hit to justify its production or conversion in the format. It’s sort of an economies of scale issue: if you’ve got a “Transformers” or a “Pirates of the Caribbean,” movies that routinely gross near a billion dollars worldwide, the 3D pays for itself and more. But if you’ve got a smaller film with a chillier box office forecast — something on par with, say, “The Green Hornet” or “Green Lantern” — you face an uphill battle returning your investment in 3D. That goes for movie theaters too — if movies like “Captain America” begin to earn more money on 2D screens than on 3D screens — even though people are paying more per ticket for 3D — you could quickly begin to see exhibitors switch back to 2D to improve their revenues.

If these trends in 3D attendance continue, I think we may (finally) see fewer 3D titles, particularly in that middle-tier of medium budgeted event movies. At least I hope so.

Did you go see “Captain America” in 2D or 3D? Tell us in the comments below or on Facebook and Twitter.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.