How much money did marvel make in 1980

Additional Information. Show source. Show sources information Show publisher information. Total revenue is the calendar gross for that year, meaning actual revenues jn the time period, including holdovers from previous year. Figures have been rounded. Movie genres ranked by total box office revenue in North America Leading cinema circuits in North America inby number of screens. Leading film markets worldwideby gross box office revenue. Global box office revenue of the most successful movies of all time.

2. Avengers: Age of Ultron: $1,398,858,115

Just about every great comic book story has a darkest hour moment: a point in the tale where all seems lost. The heroes are on their knees, the city’s a smoldering ruin and the villains are closing in for the kill. For Marvel, its darkest hour came in the winter of A company that had grown in stature throughout the ’60s, ’70s, and ’80s thanks to the often stunning art and storytelling in such comics as Fantastic Four and The Amazing Spider-ManMarvel’s financial success had reached a peak by the early ’90s. An ugly fight between a group of very rich investors followed, and for a while, the company’s future seemed uncertain. Yet somehow, Marvel fought through all the corporate intrigue which dogged the company in late and for many long months afterwards, and emerged from the rubble a decade later as a film industry behemoth. Inwhile Marvel and the comics industry as a whole seemed to be in rude health, Sandman writer Neil Gaiman stood before about 3, retailers and gave a speech which few in attendance wanted to hear. In it, he argued that the success of the comic book market was a bubble — one brought on by encouraging collectors to buy multiple editions and hoard them up in the hope that they’ll one day be worth a fortune. This, Gaiman said, was akin to tulip mania — a strange period in the 17th century when the value of tulip bulbs suddenly exploded, only for the market to collapse. The bubble Gaiman described had begun several years earlier, when comic books, once considered disposable items by parents, were becoming prized items by collectors who’d grown up with their favorite superheroes as kids. By the s, comic book collecting had gained the interest of the mainstream media, which latched onto stories about Golden Age comics selling for thousands of dollars.

1. Marvel’s The Avengers: $1,518,594,910

Publishers were themselves courting the collector market by introducing variant covers, sometimes with foil embossing or other eye-catching, fancy printing techniques. These were snapped up hungrily by readers, but also by speculators assuming that they’d stumbled on a sure-fire means of making money by storing copies up and selling them for a profit in the future. While the comics were flying off the shelves, Marvel attracted the interest of a man named Ron Perelman. Within two years, Marvel was on the stock market, and Perelman went on a spending spree: he bought shares in a company called ToyBiz, snapped up a couple of trading card companies, Panini stickers, and a distribution outfit, Heroes World. Through the early ’90s, Marvel was buoyed by the success of Spider-Man and X-Menwhich were selling in huge numbers. Sales of a new comic, X-Forcewere similarly huge, thanks in part to a cunning sales gimmick: the first issue came in a polybag with one of five different trading cards inside it. If collectors wanted to get hold of all five cards, they — you guessed it — had to buy multiple copies of the same comic.

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The fictional character Spider-Man , a comic book superhero created by Stan Lee and Steve Ditko and featured in Marvel Comics publications, has appeared in eleven live-action films since his inception, not including fan made shorts and guest appearances in other Marvel Cinematic Universe MCU films. Glut in It starred Nicholas Hammond and was intended as a backdoor pilot for what became a weekly episodic TV series. The first two films were met with positive reviews from critics, while the third film received mixed reviews. In , Sony announced that the franchise would be rebooted. The Amazing Spider-Man 2 saw mixed reviews. The deal allowed Sony to distribute and have final creative control over MCU films where Spider-Man is the main character, while Disney distributed the ones where he is not. In August , Disney and Sony could not reach a new agreement regarding Spider-Man films, with Marvel Studios and Feige said to no longer have any involvement in future films.

A prophecy of doom

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In 20 years, Marvel has risen from bankruptcy to multi-billion-dollar business.

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 tell 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 industry, 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 weekend, does that mean it’s automatically a hit? Or is the percentage drop between the first and second weekends the important marvvel 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 or a failure. Sometimes, a film can kn 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 howw 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 — Magvel points out that Fox didn’t seem to waste madvel 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 have 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 production budget. You might have noticed that studios are pushing a lot 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 the board that the opening weekend was when the biggest percentage of profits went to the studios.

In the 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. Eventually, by the fourth week, the studio’s cut has fallen to mone 52 percent in most cases. But after a bunch of theater chains declared bankruptcy in the early s, marvwl 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 of revenues that the exhibitor takes in depends on the individual contract for that film — which in turn depends on how 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 filings for the big theater chains, to look at how much of their ticket revenues go back to the studios, points out Stone. So for 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 with 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 and going abroad, which is an understandable practice.

While the global conglomerates such as Fox, Disney and Time-Warner that run major Hollywood studios can secure sweetheart deals with various local governments, marve, doesn’t happen for each film. As such, 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 makf the U. A shocking number ln releases did better abroad than in North America, which makes sense when miney consider population numbers. It’s just a relatively new phenomenon for the industry.

Avatar’s performance 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 Hollywood.

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 moneyy — infor the first time in a decade, theatrical box office revenue was bigger than home-video revenue, dix 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 to 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 premium video-on-demand services more, as another way to shore up their earnings, says Stone. The A. Charlie Jane Anders. Filed to: Movies.

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101 Comic Books Worth $20 or More That Are Easy To Find At Garage Sales Dollar Bins and Flea Markets

Films generate income from several revenue streams, including theatrical exhibitionhome videotelevision broadcast rightsand merchandising. However, theatrical box office earnings are the primary metric for trade publications in assessing the success of a film, mostly because of the availability of the data compared to sales figures for home video and broadcast rights, but also because of historical practice. Included on the list are charts of the top box office earners ranked by both the nominal and real value of their revenuea chart of high-grossing films by calendar year, a timeline showing the transition of the highest-grossing film record, and a chart of the highest-grossing film franchises and series.

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All charts are ranked by international theatrical box office performance where possible, excluding income derived from home video, broadcasting rights, and merchandise. Traditionally, war filmsmusicalsand historical dramas have been the most popular genres, but franchise films have been among the best performers in the 21st century. There is strong interest in the superhero genrewith nine films in the Marvel Cinematic Universe featuring among the nominal top-earners. The most successful superhero film, Avengers: Endgameis also the highest-grossing film overall on the nominal earnings chart, and there ib four films in total based on the Avengers comic books charting in the top ten. Star Wars is also represented in the nominal earnings chart with four films, while the Harry PotterJurassic Park and Pirates of the Caribbean franchises feature prominently. Avatarin second place on the nominal chart, is the highest-grossing film that is not a sequel or an adaptation of a pre-existing property. Animated family films have performed consistently well, with Disney films enjoying lucrative re-releases prior to the home-video era. Disney also enjoyed later success with films such as Frozen I and IIZootopiaand The Lion King with its computer-animated remake as the highest-grossing animated filmas well as its ,oney brand, of which Incredibles 2Toy Story 3 and 4and Finding Dory have been the best performers. While inflation has eroded away the achievements of most films from the s and s, there are franchises originating from that period that are still active. Besides the Star Wars and Superman franchises, James Bond and Star Trek films are still being released periodically; all four are among the highest-grossing franchises. Some of the older films that held the record of highest-grossing film still have respectable grosses by today’s standards, but no longer compete numerically against today’s top-earners in an era of much higher individual ticket prices. When properly adjusted for inflation, however, on that comparative scale Gone with the Wind —which monney the highest-grossing film outright for twenty-five years—is still the highest-grossing film of all time. All grosses on the list are expressed in U. Once revenue from home entertainment is factored in i is not immediately clear which film is the most successful. When a how much money did marvel make in 1980 is highly exploitable as a commercial property, its ancillary revenues can dwarf its income rid direct film sales.