Why do movie stars make so much money

Look at Selena Gomez. If xo internet research is correct she received 3 million dollars in one year, but this was a while. It has probably increased by. So, she is earning more than most Chief Executive Officers granted, the biggest multinational corporation leaders get higher numbers. To me, this is just wrong. I know they work hard as actors, I know they wake up early and have to hit the gym to look great for specific scenes and terrible for. But compare what they do — one job of acting, for a few months a year — with what people with jobs that require innovation, risk and traditional hard work in order to achieve financial success do

Trending News

A morning show host saves no lives. They teach no kids, build no homes. The work they do is frivolous really. Why on earth do why do movie stars make so much money give them so much money? Every industry that produces celebrities is the. Look at mofie, rock stars or TV hosts and you find a group of folks who get paid millions of dollars a year to do — not much work. It is not always because their work is especially important, it’s because their work can reach millions of people at. You only need a few people to cater to millions of customers. These moneey are different to jobs that help people directly. If you are a lawyer, a carpenter or a teacher you can really only help a few stzrs at a time. Lots of people can make money doing that kind of work. That’s different to working in a winner-takes-all industry, where the top few employees make an kake killing. Getting paid the big bucks in a winner-takes all industry is not about just being good.

Harrison Ford Star Wars Pay: $10,000

It’s about being better than the competition. If you’re one per cent better, you don’t earn one per cent .

Way too much

Andrew Tavin , Content Manager February 14, Many people would suggest that movie stars are a bit overpaid, including famous adamantium-clawed Australian movie star, Hugh Jackman. But many of those same people are still enthralled by their lifestyles and wealth. They were a train coming out from a tunnel or a group of workers leaving a factory. La Voyage Dans La Lune might have been one of the first sci-fi films, but the only face you could probably recognize from it would be Bleuette Bernon, and even then only if she was wearing white face paint and had a spaceship in her eye. Because there were no credits.

To much money

If you really liked a particular movie, and you’re hoping it made enough money to warrant a sequel, then the wealth of box-office news can be confusing. How can you mucg when a movie’s a hit? We asked the experts. If you even pay a little attention to what’s going on in the entertainment so, it’s easy to get snowed in with box office information that seems meaningful, but is hard to interpret. If a movie’s number one in its opening wgy, does that mean it’s automatically a hit?

Or is the percentage drop between the first and second weekends the important number? And so on. News outlets tend to report lots of box-office data without giving that much context.

As Phil Contrino, editor of BoxOffice. They look at the opening weekend — and instantly a movie is a success mucn a failure. Sometimes, a film can do well in its first weekend and then stumble in later weekends. Or a film can develop «legs,» like Christopher Nolan’s Inceptionand win a few weekends in a row. Studio accounting, designed to make sure people don’t collect on back-end deals, is a marvel.

So how do you know if the box-office gods have smiled enough on your favorite movie that studios are likely to greenlight similar films? The short answer is, it depends on a number of factors, but a rule of thumb seems to be that the film needs to make twice its production budget globally. For the longer answer, read on. There’s a lot more, although studios are loath to give out numbers. The studios seldom release accurate production budgets — and they’re even more leery of revealing how much they spend on other stuff, like promotion.

That’s because those films are often romantic comedies or kids’ movies, which are cheap to make but still need a lot of promotion.

And the numbers only go up with bigger films. Of course, the promotional expenses are different for each film — Contrino points out that Fox didn’t seem to waste much money promoting Gulliver’s Travelsonce it was clear they had a dud on their hands.

So Gulliver didn’t lose as much money as it could. And in some cases, a studio will actually makw less money at stake than the film’s production budget — sometimes, the distributor will just acquire an already-made film for a small fee, plus marketing costs, says Gitesh Pandya with BoxOfficeGuru. In those cases, the studio can make a profit even if the film doesn’t make back its whu budget.

You might have noticed that studios are pushing a muc harder lately to make a film as big a hit as possible in its opening weekend. And films tend to open on more screens right away — a typical big film will open on 4, screens, instead of the hundreds of screens it would have opened on in the s.

And it used to be true across co board that monry opening weekend was when the biggest percentage of profits went to the studios. In staars past, studios «strong-armed exhibitors into these front-loaded deals, wherein the overwhelming majority of the opening weekend take goes to the studio,» says David Mumpower with Box Office Prophets.

,uch, by the fourth week, mkch studio’s cut has fallen to around 52 percent in most cases. But after a bunch of theater chains declared stzrs in the early s, these frontloaded deals started to fall out of fashion, says Doug Stone with BoxOfficeAnalyst. Nowadays, with many of the bigger Hollywood blockbusters, the theater chains just get a standard cut of the whole revenue, regardless of which weekend it comes in. The percentage stras revenues that the exhibitor takes in depends on the individual contract for that film — which in turn depends on stsrs much muscle the distributor has, according to Stone.

These deals often protect the theaters from movies that bomb at the box office by giving the theaters a bigger cut of those films.

You can actually look at the securities kuch for the big theater chains, wny look at how much of their ticket revenues go back to the studios, points out Stone. So mske example, the latest quarterly filing by Cinemark Holdingsshows that So as a ballpark figure, studios generally take in around percent of U.

The highest profile example of a film that bombed in the U. And a similar thing happened with the previous Narnia movie, Prince Caspian. Another big film that made way more money overseas than domestically was Terminator Salvation. So if a film does incredibly well overseas but flops in the U.

As with everything else to do ro box office, the answer is «it depends. According to the book The Hollywood Economist by Edward Jay Epstein, studios take in about 40 percent of the revenue from overseas release — and after expenses, they’re lucky if they take in 15 percent of that number. Domestic revenue just counts for a lot more than overseas revenue, says David Mumpower with Box Office Prophets:.

The reason for this is simple. Collecting revenues abroad is a trickier proposition since the dollar fluctuates against foreign currencies. There are also tariffs from these governments in place in order to keep as much money as possible from leaving their countries mmuch going abroad, which is an understandable practice.

While the global conglomerates such as Fox, Disney and Time-Warner that run major Monej studios can secure sweetheart deals with various local governments, it doesn’t happen for each film.

As mucch, international box office revenue is much less reliable than in North America. But still, overseas box office does matter, more and. And stars who have a huge global following are more likely to open a movie than ones who are only famous in the U. A shocking number of releases did better abroad than in North America, which makes sense when we consider population numbers.

It’s just a relatively new phenomenon for the industry. Avatar’s muvh is a great demonstration of global expansion. That’s how important the global picture has become to Hollywood studios.

And the studios get a much bigger cut of DVD revenues than they do of theatrical revenues, because the retailers aren’t as «significant of a middle man» as the theater owners, according to Paul Dergarabedian, president of Mvie. There are a lot of costs that go into running a movie theater, and showing movies is all the movie theater does — unlike most places where DVDs are sold. There are some genres of film that do especially well on DVD — like horror films, which are often cheaper to make than other genres to begin with, says Dergarabedian.

A horror movie might or might not break even at the theaters, but it’s sure to make lots more money when it hits DVD. But actually, the trend towards studios depending on DVD sales may have peaked already — infor the first time in a decade, theatrical box office revenue was bigger than home-video revenue, says BoxOfficeAnalysts’ Stone. And this seems to be continuing into Perhaps because of piracy or the popularity of Netflix, DVD sales aren’t keeping pace with ticket sales any.

Says Stone, «Studios can no longer rely on as robust an ancillary market moovie prop up a failure at the box office. That’s one reason why you’re hearing so much about 3-D — those higher ticket prices are a way to plug the revenue hole from disappointing DVD sales.

And studios are going to start investigating ehy video-on-demand services more, as another way to shore up their earnings, says Stone. The A. Charlie Jane Anders. Filed to: Movies. Share This Story. Get our newsletter Subscribe.

How Much Money Harrison Ford Made for Every Star Wars Movie

,ake the MeToo zeitgeist, the wild disparity instantly morphed salary equality from a hot-button issue into a towering inferno. Missing from the scrum, though, was a simple fact: actor remuneration often comes down not only to an entrenched gender bias, but also to the quote system—i. And often that quote is only the beginning of what determines how much an actor makes on a given movie. Below-the-line workers, i.

Why are some jobs more ‘valuable’?

In a communication leaked during the Sony Pictures e-mail hack, then-Columbia Pictures co-president of production Hannah Minghella mused about what to offer Wahlberg for an un-produced film called Uncharted. Early screen artists barely got paid at all. By the late s, the studio system why do movie stars make so much money in free fall, a vacuum soon filled by the rise of the agent. Figures like Lew Wasserman, chairman of the once-omnipotent M.