Jeff Goldstein, Warner Bros. president of domestic distribution, spends a good part of his day obsessing over a calendar. In another era, executives like Goldstein would have spent half their tim…
’s “Venom” were all released in what previously would have been considered unconventional times. In hindsight, they were risks worth taking, but Goldstein recalls two sleepless weeks in August between “The Meg” and “Crazy Rich Asians,” in which he fretted that the blockbuster hopefuls wouldn’t be embraced in the dog days of summer.
“Technology has given the consumer many more entertainment choices. … We are vying for eyeballs not only against other studios but also in the online space.”“Every time we think we have a rule with release dates, we break it,” says Jim Orr,’s president of domestic distribution. “You have to use all 52 weeks a year, and that forces us to look outside the box. We found great success in many situations,” he adds, pointing to M.
Behind the scenes, studio executives must consider which films deserve the big-screen treatment in the first place. “We’ve seen the landscape shift in terms of mediums,” says Cathleen Taff, Disney’s head of global distribution. “You have to create a story that wants to be told in theaters. That means you need urgency to get audiences out of their house and show up in movie theaters, and then go talk about it after.
It’s a constantly evolving dialogue between distribution, marketing and production departments, the holy trinity responsible for greenlighting movies. Distribution officials aim to calculate how much money a movie can feasibly make at the domestic box office. The execs say that knowledge comes from experience and instinct, as well as facts and figures. They traditionally use historical comparisons to ballpark a film’s potential earnings.
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