What a lot of these companies usually do is push out the one person who understands what’s best for the film. It sounds like a very honest relationship that you formed with these two companies.
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They were very upfront and clear about what the movie is and how it should be distributed. We talked almost on a daily basis to discuss strategy. I got really lucky in finding Gravitas Ventures and Variant Films, two companies that really embraced the change of how movies are being seen nowadays. I’ve been a part of so many indies that have great premieres, but then end up with a company where the filmmakers go through a torturous period. It’s like, “We’re going to take your baby and we’re not even going to tell you what the poster will look like.” “We’ll let you design the poster, but we’re keeping all the money and we’re going to lie about where that money is going.” It’s sad when stuff like that happens. But the conundrum with independents is that you try to get people to buy your film and you turn it over to some corporate entity that strips you of all your rights. You get to tell the kind of stories you want to tell. It has been interesting! You have a lot more control when it comes to independent films. What has the journey been like having premiered the film at Sundance last year and now getting it up on the big screen? We caught up with Webber via phone in a follow-up conversation to the one we had at the Sundance Film Festival last year where the The End of Love made its world premiere. The film features cameos by Michael Cera, Jake Johnson and Amanda Seyfried. Endowed with a raw but vibrant truth, The End of Love is a story about the universal pain of loss and the courage it takes to change. Having cast his real life son Isaac opposite himself in this stark, yet intimate film, we can’t help but bear witness to the most private moments between father and son. When he meets Lydia (Shannyn Sossamon), a young mother, he’s no longer able to live in the comfort of denial. Their fates, now intertwined, hang in the balance as Mark grapples with his ability to grow up. When the mother of his two-year-old son suddenly passes away, he’s forced to confront his shortcomings.
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Register with The Numbers for free to customize this chart.In Mark Webber’s second directorial feature The End of Love, Mark (played by Webber) is a struggling actor who’s stuck between the life he once knew and the one that’s waiting for him. Limited Releases: Stoked for Limited Releases But will fans of the genre want to check out this movie? It should perform better on the home market, as romantic comedies do better with mainstream audiences than the do with critics or art house aficionados. It should come as no surprise that the film struggled to find an audience however, it really struggled opening below the Mendoza Line. Save the Date is a romantic comedy that opened in limited release with a Tomatometer Score below 50% positive. Did it fail to find an audience because it is the wrong genre? Or did the word of mouth kill it? Then again, it is a romantic comedy and those rarely do well in limited release. It opened well, but struggled as it tried to expand. Laggies is a film that opened in limited release earning much better buzz than most films do. Is this something that will only appeal to critics like many other limited releases I’ve reviewed? Or is there another reason it failed to find a mainstream audience? However, it struggled as it tried to expand and by the time it was nationwide, its per theater average was below $2,000. Green Room open with strong buzz, it earned stunning reviews, and it opened really well. See the Acting Credits tab for all Acting Box Office Records and the Technical Credits tab for all Technical Box Office Records.įeatured Blu-ray / DVD Review: Green Room Top Grossing Screenwriter at the Worldwide Box Office (Rank 9,601-9,700) Top Grossing Producer at the Worldwide Box Office (Rank 11,901-12,000) Top Grossing Director at the Worldwide Box Office (Rank 14,401-14,500) Top Grossing Screenwriter at the Domestic Box Office (Rank 7,601-7,700) Top Grossing Producer at the Domestic Box Office (Rank 9,501-9,600) Top Grossing Director at the Domestic Box Office (Rank 6,201-6,300) Top Stars at the Worldwide Box Office (Rank 17,401-17,500) Top 100 Stars in Leading Roles at the Worldwide Box Office (Rank 2,701-2,800) Top Stars at the International Box Office (Rank 23,401-23,500) Top 100 Stars in Leading Roles at the International Box Office (Rank 4,401-4,500)
Top Stars at the Domestic Box Office (Rank 12,801-12,900) Top 100 Stars in Leading Roles at the Domestic Box Office (Rank 1,901-2,000)
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