【TNABO】DL2019盈利榜汇总
《阿拉丁》具体数据
盈利：3.56亿
总收入：8.11亿，其中
（北美票房3.556亿
海外票房6.416亿
中国票房5340万
全球票房10.507亿）
票房收入4.66亿
家庭娱乐（点播、碟片）收入1.47亿
电视授权1.98亿
总成本：4.55亿，其中
制作成本1.85亿
宣发成本1.35亿
碟片制作成本5000万
分红2500万
杂项（税务、结算、转汇、福利等）支出3000万
利息与费用3000万
盈利：3.56亿
总收入：8.11亿，其中
（北美票房3.556亿
海外票房6.416亿
中国票房5340万
全球票房10.507亿）
票房收入4.66亿
家庭娱乐（点播、碟片）收入1.47亿
电视授权1.98亿
总成本：4.55亿，其中
制作成本1.85亿
宣发成本1.35亿
碟片制作成本5000万
分红2500万
杂项（税务、结算、转汇、福利等）支出3000万
利息与费用3000万
《玩具总动员4》具体数据
盈利：3.68亿
总收入：8.71亿，其中
（北美票房4.34亿
海外票房6.102亿
中国票房2910万
全球票房10.734亿）
票房收入5.03亿
家庭娱乐（点播、碟片）收入1.63亿
电视授权2.05亿
总成本：5.03亿，其中
制作成本2亿
宣发成本1.4亿
碟片制作成本5500万
分红4500万
杂项（税务、结算、转汇、福利等）支出3100万
利息与费用3200万
盈利：3.68亿
总收入：8.71亿，其中
（北美票房4.34亿
海外票房6.102亿
中国票房2910万
全球票房10.734亿）
票房收入5.03亿
家庭娱乐（点播、碟片）收入1.63亿
电视授权2.05亿
总成本：5.03亿，其中
制作成本2亿
宣发成本1.4亿
碟片制作成本5500万
分红4500万
杂项（税务、结算、转汇、福利等）支出3100万
利息与费用3200万
《惊奇队长》具体数据
盈利：4.14亿
总收入：8.65亿，其中
（北美票房4.268亿
海外票房5.473亿
中国票房1.541亿
全球票房11.283亿）
票房收入5.05亿
家庭娱乐（点播、碟片）收入1.56亿
电视授权2.04亿
总成本：4.51亿，其中
制作成本1.75亿
宣发成本1.4亿
碟片制作成本5200万
分红2500万
杂项（税务、结算、转汇、福利等）支出3100万
利息与费用2800万
盈利：4.14亿
总收入：8.65亿，其中
（北美票房4.268亿
海外票房5.473亿
中国票房1.541亿
全球票房11.283亿）
票房收入5.05亿
家庭娱乐（点播、碟片）收入1.56亿
电视授权2.04亿
总成本：4.51亿，其中
制作成本1.75亿
宣发成本1.4亿
碟片制作成本5200万
分红2500万
杂项（税务、结算、转汇、福利等）支出3100万
利息与费用2800万
《星球大战：天行者崛起》DL原文
Wrapping up a 42-year-old filmfranchise is hard to do, and the box office results here were bittersweet.After fans griped over Rian Johnson’s disruption of the Star Wars canon with The Last Jedi, and the departure of ColinTrevorrow as director on Episode IX, Lucasfilmwent back to Star Wars: The Force Awakens director J.J. Abrams to get the franchise back onthe rails. Fans gave Rise ofSkywalker somewhat of a cold shoulder with a B+, the lowestCinemaScore ever for a Star Wars live-actionmovie, and that showed in the downturn of grosses for this finale, with the$376.1 million global opening off 17% from Last Jedi‘s$450.8M and off close to 30% from ForceAwakens’ $528.96M. Final domestic on Rise of Skywalker was $515.2Mcompared with Last Jedi‘s $620.1M and Force Awakens’ $936.6M (still thehighest-grossing movie of all time at the domestic box office). On the upside, Rise of Skywalker still made morethan $1 billion at the worldwide box office, ranking behind Last Jedi ($1.3B) and Force Awakens ($2.06B). Disney firedup the marketing campaign for Skywalker atStar Wars Celebration 2019 with a teaser that hinted at the big reveal for thefinal chapter: The Emperor was still alive after long believed dead since1983’s Return of the Jedi. The teaser pulledin the most 24-hour global views for a Star Wars trailerat 112 million impressions.
Disney spared noexpense on Rise of Skywalker, with the finale reportedly themost expensive of the latter part of the trilogy with a $275M production costand total global costs of $627M — versus Force Awakens ($259Mproduction, $776.5M total) and Last Jedi ($200M production,$578.3M total). This resulted in net profits of $300M for Rise of Skywalker,which were lower than spinoff Rogue One: A Star Wars Story ($319.6M) but muchbetter than Solo: A Star Wars Story which lost close to $77M. The last two StarWars trilogy movies from Disney actually led Deadline’s profittournaments: Last Jedi in 2017 with $417.5M and Force Awakens in 2015 with a massive $780.11M. Regardingparticipations here of $75M, Disney doesn’t pay out profit percentages aftercash breakeven, but rather bonuses based on box office results, and that’sspread out here among Abrams, the cast and Lucasfilm boss Kathleen Kennedy. Notaccounted for here in Rise of Skywalker‘s black ink ismerchandise revenue streams, which are largely kept under wraps. After Solo bombed,Disney largely stalled its spinoff feature plans for movies based on classiccharacters. Two new trilogies were put into development, however; Game ofThrones creators David Benioff and D.B. Weiss walked away fromone of them, and there are questions whether Rian Johnson’s take is evenproceeding, with the filmmaker putting his current focus on a KnivesOut sequel. Three new untitled Star Wars movies remain datedon the Disney release schedule for year-end 2022, 2024 and and 2026. In themeantime, Star Wars flourishes on its streaming service withthe Jon Favreau-created live-action series The Mandalorian, with severalspinoff shows planned.
Wrapping up a 42-year-old filmfranchise is hard to do, and the box office results here were bittersweet.After fans griped over Rian Johnson’s disruption of the Star Wars canon with The Last Jedi, and the departure of ColinTrevorrow as director on Episode IX, Lucasfilmwent back to Star Wars: The Force Awakens director J.J. Abrams to get the franchise back onthe rails. Fans gave Rise ofSkywalker somewhat of a cold shoulder with a B+, the lowestCinemaScore ever for a Star Wars live-actionmovie, and that showed in the downturn of grosses for this finale, with the$376.1 million global opening off 17% from Last Jedi‘s$450.8M and off close to 30% from ForceAwakens’ $528.96M. Final domestic on Rise of Skywalker was $515.2Mcompared with Last Jedi‘s $620.1M and Force Awakens’ $936.6M (still thehighest-grossing movie of all time at the domestic box office). On the upside, Rise of Skywalker still made morethan $1 billion at the worldwide box office, ranking behind Last Jedi ($1.3B) and Force Awakens ($2.06B). Disney firedup the marketing campaign for Skywalker atStar Wars Celebration 2019 with a teaser that hinted at the big reveal for thefinal chapter: The Emperor was still alive after long believed dead since1983’s Return of the Jedi. The teaser pulledin the most 24-hour global views for a Star Wars trailerat 112 million impressions.
Disney spared noexpense on Rise of Skywalker, with the finale reportedly themost expensive of the latter part of the trilogy with a $275M production costand total global costs of $627M — versus Force Awakens ($259Mproduction, $776.5M total) and Last Jedi ($200M production,$578.3M total). This resulted in net profits of $300M for Rise of Skywalker,which were lower than spinoff Rogue One: A Star Wars Story ($319.6M) but muchbetter than Solo: A Star Wars Story which lost close to $77M. The last two StarWars trilogy movies from Disney actually led Deadline’s profittournaments: Last Jedi in 2017 with $417.5M and Force Awakens in 2015 with a massive $780.11M. Regardingparticipations here of $75M, Disney doesn’t pay out profit percentages aftercash breakeven, but rather bonuses based on box office results, and that’sspread out here among Abrams, the cast and Lucasfilm boss Kathleen Kennedy. Notaccounted for here in Rise of Skywalker‘s black ink ismerchandise revenue streams, which are largely kept under wraps. After Solo bombed,Disney largely stalled its spinoff feature plans for movies based on classiccharacters. Two new trilogies were put into development, however; Game ofThrones creators David Benioff and D.B. Weiss walked away fromone of them, and there are questions whether Rian Johnson’s take is evenproceeding, with the filmmaker putting his current focus on a KnivesOut sequel. Three new untitled Star Wars movies remain datedon the Disney release schedule for year-end 2022, 2024 and and 2026. In themeantime, Star Wars flourishes on its streaming service withthe Jon Favreau-created live-action series The Mandalorian, with severalspinoff shows planned.
《星球大战：天行者崛起》原文简译
给一个42年的电影系列做终章是一件很难的事，迪士尼这一次的成绩也只能算是有喜有忧。
在粉丝对莱恩约翰逊的第8部牢骚满腹的抱怨以及原导演Colin Trevorrow的中途离开的影响下，卢卡斯影业这一次找回了成功的第7部导演JJ艾布拉姆斯，尝试让星战系列回到正轨。然而粉丝并不买账，第9部的CS评分是整个星战系列所有真人电影最低的B+。相比第8部，全球开画下跌17%，北美总票房下跌超过1亿，更别提全球5亿开画并依旧保持着北美累计票房记录的第7部了。当然，星战9依然取得了超过10亿的全球票房，无论如何这也是一件喜事。
迪士尼对星战9可谓是不遗余力。早在四月的星战2019庆典上，迪士尼就放出了一支先导预告片，暗示了帕皇的依旧存活——该预告在24小时内取得了全球1.12亿的播放量。迪士尼为星战9投入了2.75亿的制作成本和总计6.27亿的支出，均为后传三部曲最高。
影片取得了3亿美元的利润，低于前两部，甚至低于外传《侠盗一号》。当然，星战系列都伴随着相当高的周边收益，这一部分我们不得而知。迪士尼付出了7500万美元的分红给制片、导演以及演员阵容，且这部分属于票房奖励分红而非利润分红。
星战系列的未来在何方？目前，迪士尼对经典角色拍摄外传的计划在《游侠索罗》的票房失败后已经基本停滞。迪士尼曾经两次立项新的三部曲计划，且目前在档期表上面依然列有2022-2026隔年一部的三部星战作品的安排，但目前权游导演2DB已经离开了他们的三部曲，而莱恩·约翰逊的三部曲计划也前途未卜——莱恩约翰逊目前明显的工作重心也在《利刃出鞘》续集开发上面。另一方面，迪士尼+上的《曼达洛人》收视喜人，并已经推出了多部衍生作品的计划。
给一个42年的电影系列做终章是一件很难的事，迪士尼这一次的成绩也只能算是有喜有忧。
在粉丝对莱恩约翰逊的第8部牢骚满腹的抱怨以及原导演Colin Trevorrow的中途离开的影响下，卢卡斯影业这一次找回了成功的第7部导演JJ艾布拉姆斯，尝试让星战系列回到正轨。然而粉丝并不买账，第9部的CS评分是整个星战系列所有真人电影最低的B+。相比第8部，全球开画下跌17%，北美总票房下跌超过1亿，更别提全球5亿开画并依旧保持着北美累计票房记录的第7部了。当然，星战9依然取得了超过10亿的全球票房，无论如何这也是一件喜事。
迪士尼对星战9可谓是不遗余力。早在四月的星战2019庆典上，迪士尼就放出了一支先导预告片，暗示了帕皇的依旧存活——该预告在24小时内取得了全球1.12亿的播放量。迪士尼为星战9投入了2.75亿的制作成本和总计6.27亿的支出，均为后传三部曲最高。
影片取得了3亿美元的利润，低于前两部，甚至低于外传《侠盗一号》。当然，星战系列都伴随着相当高的周边收益，这一部分我们不得而知。迪士尼付出了7500万美元的分红给制片、导演以及演员阵容，且这部分属于票房奖励分红而非利润分红。
星战系列的未来在何方？目前，迪士尼对经典角色拍摄外传的计划在《游侠索罗》的票房失败后已经基本停滞。迪士尼曾经两次立项新的三部曲计划，且目前在档期表上面依然列有2022-2026隔年一部的三部星战作品的安排，但目前权游导演2DB已经离开了他们的三部曲，而莱恩·约翰逊的三部曲计划也前途未卜——莱恩约翰逊目前明显的工作重心也在《利刃出鞘》续集开发上面。另一方面，迪士尼+上的《曼达洛人》收视喜人，并已经推出了多部衍生作品的计划。
《蜘蛛侠：英雄远征》DL原文
In the wake of Sony teaming with Disney’s Marvel to fold Spider-Man into thelatter’s Avengers movies, the Culver City, CAstudio has reaped great spoils, with Spider-Man: FarFrom Home becoming its highest-grossing move of all time with$1.13 billion, beating its former box office champ in MGM’s 007 title Skyfall ($1.1B). Far From Home followed Avengers: Endgame on the calendar bytwo months, launching over the July 4 holiday — brilliant timing for thewebslinger as Marvel fans were still thirsting for more after that mammothDisney hit. Involving Marvel boss Kevin Feige on the last two Spider-Man movies was a key to theirsuccess, and he partnered again on the sequel with indie filmmaker Jon Watts.Sony and Disney clashed over terms for a bit in the wake of Far From Home‘s success on future Spider-Man movies, eventually agreeing toa third one starring Tom Holland whereby Disney wouldco-finance 25% for a 25% stake in the next film (versus Disney’s previous dealwhich was 5% of the first-dollar gross on Spider-Man:Homecoming and Far From Home).In addition, Holland’s Spider-Man would appear in another Disney/Marvel moviewith elements of the Sony-Disney shared Spider-Man mythologyto be sprinkled into the Culver City studio’s further extension of thefranchise.
Far FromHome yields $339 million in net profit after $787M intotal global revenues against $448M total worldwide costs, which is more than Homecoming‘s $200.1M profit (that pic was No. 7 inthe 2017 Deadline profit tournament). Disney owns merchandise rightson Spider-Man, and those are not factored into the pic’s financial rundownhere. The estimated participations of $40M include Sony’s set oflow-single-digit profit share (~5%) after cash breakeven for Holland and JakeGyllenhaal in addition to extra monies for producers Feige and Amy Pascal. Far From Home was also responsiblefor Sony seeing a 73% risein its Q2 2019 profits for the July-September period, the third consecutive Q2to see significantincreases in its film segment.
In the wake of Sony teaming with Disney’s Marvel to fold Spider-Man into thelatter’s Avengers movies, the Culver City, CAstudio has reaped great spoils, with Spider-Man: FarFrom Home becoming its highest-grossing move of all time with$1.13 billion, beating its former box office champ in MGM’s 007 title Skyfall ($1.1B). Far From Home followed Avengers: Endgame on the calendar bytwo months, launching over the July 4 holiday — brilliant timing for thewebslinger as Marvel fans were still thirsting for more after that mammothDisney hit. Involving Marvel boss Kevin Feige on the last two Spider-Man movies was a key to theirsuccess, and he partnered again on the sequel with indie filmmaker Jon Watts.Sony and Disney clashed over terms for a bit in the wake of Far From Home‘s success on future Spider-Man movies, eventually agreeing toa third one starring Tom Holland whereby Disney wouldco-finance 25% for a 25% stake in the next film (versus Disney’s previous dealwhich was 5% of the first-dollar gross on Spider-Man:Homecoming and Far From Home).In addition, Holland’s Spider-Man would appear in another Disney/Marvel moviewith elements of the Sony-Disney shared Spider-Man mythologyto be sprinkled into the Culver City studio’s further extension of thefranchise.
Far FromHome yields $339 million in net profit after $787M intotal global revenues against $448M total worldwide costs, which is more than Homecoming‘s $200.1M profit (that pic was No. 7 inthe 2017 Deadline profit tournament). Disney owns merchandise rightson Spider-Man, and those are not factored into the pic’s financial rundownhere. The estimated participations of $40M include Sony’s set oflow-single-digit profit share (~5%) after cash breakeven for Holland and JakeGyllenhaal in addition to extra monies for producers Feige and Amy Pascal. Far From Home was also responsiblefor Sony seeing a 73% risein its Q2 2019 profits for the July-September period, the third consecutive Q2to see significantincreases in its film segment.
《蜘蛛侠：英雄远征》原文简译
在索尼与迪士尼合作让其旗下蜘蛛侠角色加入漫威的复仇者联盟系列电影后，索尼从中获取了巨大的收益。这一次，《英雄远征》甚至打破了《007：大破天幕杀机》所保持的索尼发行的电影票房记录。
《英雄远征》被定档在妇联4的两个月后——充分满足了漫威粉丝在看完妇联后饥渴的心情。此外，凯文费奇制片与乔·沃茨导演悉数回归，保证了影片的质量。
影片取得了3.39亿收益，远高于第一部的2亿。此外，迪士尼所拥有的蜘蛛侠周边收益并未计算在内。4000万的分红包含了索尼传统的给演员的5%后期分红（赫兰德和吉伦哈尔）、以及给影片制片凯文费奇与艾米帕斯卡的奖励。
《英雄远征》的成功让索尼娱乐部连续第三年第二季度财报增长（73%），也让索尼和迪士尼对于后续合作产生了冲突，并最终修改了第三部电影的合作条件——迪士尼从原来的分红人（5%先期分红）变为了联合投资人（25%）、赫兰德将在另一部迪士尼漫威电影中出镜、且索尼将可以在其自己开发的蜘蛛侠衍生宇宙中联动MCU版蜘蛛侠角色与电影元素。
在索尼与迪士尼合作让其旗下蜘蛛侠角色加入漫威的复仇者联盟系列电影后，索尼从中获取了巨大的收益。这一次，《英雄远征》甚至打破了《007：大破天幕杀机》所保持的索尼发行的电影票房记录。
《英雄远征》被定档在妇联4的两个月后——充分满足了漫威粉丝在看完妇联后饥渴的心情。此外，凯文费奇制片与乔·沃茨导演悉数回归，保证了影片的质量。
影片取得了3.39亿收益，远高于第一部的2亿。此外，迪士尼所拥有的蜘蛛侠周边收益并未计算在内。4000万的分红包含了索尼传统的给演员的5%后期分红（赫兰德和吉伦哈尔）、以及给影片制片凯文费奇与艾米帕斯卡的奖励。
《英雄远征》的成功让索尼娱乐部连续第三年第二季度财报增长（73%），也让索尼和迪士尼对于后续合作产生了冲突，并最终修改了第三部电影的合作条件——迪士尼从原来的分红人（5%先期分红）变为了联合投资人（25%）、赫兰德将在另一部迪士尼漫威电影中出镜、且索尼将可以在其自己开发的蜘蛛侠衍生宇宙中联动MCU版蜘蛛侠角色与电影元素。
《阿拉丁》DL原文
While Disney has long played theMemorial Day holiday, it historically has had a string of disasters thereincluding Solo: A Star Wars Story, Alice Throughthe Looking Glass, Pirates 5, Tomorrowland and Prince of Persia. Finally last yearit hit pay dirt with the live-action redo of its animated hit musical Aladdin, which turned out a globalopening of $234.7 million, and the fifth-biggest opening for the four-daysummer holiday with $116.8M stateside. That repped the second-biggest openingof Will Smith’scareer after Suicide Squad ($133.6Mdomestic); the actor had been experiencing a funk at the box office withserious movies like Concussion,Collateral Beauty and Focus. Aladdin also repped a big comebackfor director GuyRitchie, repping his best opening ever in the wake of his bomb fromthree years ago, King Arthur: Legendof the Sword, which lost more than $153M.A strong play in Latin America as well as in China, where word of mouth grewamong audiences, was key to delivering Smith’s biggest film of his career hereat $1.05 billion, besting Independence Day’s$817M worldwide gross from 1996. Rival studios sniped about the pic’s marketingmaterials at CinemaCon last spring, thinking Smith’s blue genie was too scary,and that Aladdin was poised to upset die-hardDisney fans. That was hardly the case as families and females came out en masseand gave Aladdin a big A+. Aladdin also repped another big winfor diversity at the box office, with a multicultural cast on the marquee.
Aladdin costmore than Disney’s 2017 feature live-action adaptation of Beauty and the Beast, $185M to $160Mbefore P&A, even though the genie’s overall global costs were slightlylower at $455M compared with Beauty‘snear half billion. Overall difference? Beast mademore with $912.5M in all global theatrical, TV and home entertainment revenuesto Aladdin‘s $811M. Participations of $25Mwere mostly collected by Ritchie and Smith. Interest here at $30M is the amountfigured on production costs; essentially when a studio looks at their ownprofitability, it includes an allocation for their borrowing costs. Net profitfor Aladdin was $356M versus Beauty and the Beast‘s$414.7M. Disney has a sequel in the works with John Gatins (Flight, Real Steel)and Andrea Berloff (Straight OuttaCompton, The Kitchen) writing. No word if Smith or Ritchie willreturn yet.
While Disney has long played theMemorial Day holiday, it historically has had a string of disasters thereincluding Solo: A Star Wars Story, Alice Throughthe Looking Glass, Pirates 5, Tomorrowland and Prince of Persia. Finally last yearit hit pay dirt with the live-action redo of its animated hit musical Aladdin, which turned out a globalopening of $234.7 million, and the fifth-biggest opening for the four-daysummer holiday with $116.8M stateside. That repped the second-biggest openingof Will Smith’scareer after Suicide Squad ($133.6Mdomestic); the actor had been experiencing a funk at the box office withserious movies like Concussion,Collateral Beauty and Focus. Aladdin also repped a big comebackfor director GuyRitchie, repping his best opening ever in the wake of his bomb fromthree years ago, King Arthur: Legendof the Sword, which lost more than $153M.A strong play in Latin America as well as in China, where word of mouth grewamong audiences, was key to delivering Smith’s biggest film of his career hereat $1.05 billion, besting Independence Day’s$817M worldwide gross from 1996. Rival studios sniped about the pic’s marketingmaterials at CinemaCon last spring, thinking Smith’s blue genie was too scary,and that Aladdin was poised to upset die-hardDisney fans. That was hardly the case as families and females came out en masseand gave Aladdin a big A+. Aladdin also repped another big winfor diversity at the box office, with a multicultural cast on the marquee.
Aladdin costmore than Disney’s 2017 feature live-action adaptation of Beauty and the Beast, $185M to $160Mbefore P&A, even though the genie’s overall global costs were slightlylower at $455M compared with Beauty‘snear half billion. Overall difference? Beast mademore with $912.5M in all global theatrical, TV and home entertainment revenuesto Aladdin‘s $811M. Participations of $25Mwere mostly collected by Ritchie and Smith. Interest here at $30M is the amountfigured on production costs; essentially when a studio looks at their ownprofitability, it includes an allocation for their borrowing costs. Net profitfor Aladdin was $356M versus Beauty and the Beast‘s$414.7M. Disney has a sequel in the works with John Gatins (Flight, Real Steel)and Andrea Berloff (Straight OuttaCompton, The Kitchen) writing. No word if Smith or Ritchie willreturn yet.
《阿拉丁》原文简译
迪士尼多年以来经常占据着阵亡战士纪念日这个档期（五月最后一个星期一），然而过去他们的成绩可以说相当一般——在这个档期他们推出了包括《游侠索罗》、《爱丽丝2》、《加勒比海盗5》、《明日世界》、《波斯王子》等票房不尽如人意的作品。终于这一次，他们在《阿拉丁》身上摆脱了这个魔咒。
《阿拉丁》以1.17亿北美开画和2.35亿全球开画的成绩大大超出了预期，取得了该档期历史第五北美开画、威尔史密斯生涯第二开画、盖里奇生涯最高开画等战绩，并后续创造了威尔史密斯生涯最高票房，可说得上是史密斯和盖里奇的回春之作。
去年的CinemaCon上迪士尼公布了影片的一批宣传物料，受到了友商的宣传狙击，认为史密斯的形象太过惊悚，会吓到迪士尼动画的核心观影群体。然而，事实并非如此，影片在家庭与女性观影群体中CS均分为A+，并在中国和拉丁美洲表现不错。
影片相比于17年《美女与野兽》收入有所降低而支出基本持平，2500万的分红主要属于盖导和史皇。影片的续集已经在开发中，但目前尚未有史皇是否回归的消息。
迪士尼多年以来经常占据着阵亡战士纪念日这个档期（五月最后一个星期一），然而过去他们的成绩可以说相当一般——在这个档期他们推出了包括《游侠索罗》、《爱丽丝2》、《加勒比海盗5》、《明日世界》、《波斯王子》等票房不尽如人意的作品。终于这一次，他们在《阿拉丁》身上摆脱了这个魔咒。
《阿拉丁》以1.17亿北美开画和2.35亿全球开画的成绩大大超出了预期，取得了该档期历史第五北美开画、威尔史密斯生涯第二开画、盖里奇生涯最高开画等战绩，并后续创造了威尔史密斯生涯最高票房，可说得上是史密斯和盖里奇的回春之作。
去年的CinemaCon上迪士尼公布了影片的一批宣传物料，受到了友商的宣传狙击，认为史密斯的形象太过惊悚，会吓到迪士尼动画的核心观影群体。然而，事实并非如此，影片在家庭与女性观影群体中CS均分为A+，并在中国和拉丁美洲表现不错。
影片相比于17年《美女与野兽》收入有所降低而支出基本持平，2500万的分红主要属于盖导和史皇。影片的续集已经在开发中，但目前尚未有史皇是否回归的消息。
《玩具总动员4》DL原文
Pixar is keen to space its sequels outyears apart, with Toy Story 4 arriving nearlya decade after 2010’s Toy Story 3. It’sa fail-safe recipe for box office success: Rather than just pump out sequels,Disney-Pixar creates demand with fans continually waiting, capitalizing onthose who’ve grown up along with a new generation of kids. The town knew Toy Story 4 was another notch inDisney’s multibillion-dollar-grossing, summer-blockbuster belt, they justdidn’t know how high it would go. Many analysts forecast that the money to bemade by Toy Story 4, at least stateside, wouldapproach Incredibles 2‘s animated domestic debutrecord of $182.6 million or $20M less. That didn’t happen, and Toy Story 4 came in even belowDisney’s hoped-for $140M stateside start with $120.9M. Some box office analystsblamed that on Disney failing to open Toy Story 4 overthe traditional Pixar launch period of Father’s Day weekend. However, Disneywas looking at the global play; including overseas, Toy Story 4 turnedout to be the biggest global opening ever for an animated movie at $238M (nowthe second best ever after Frozen 2‘s$358.5M). Toy Story 4 ultimatelysurprised at the Oscars, taking the trophy for Best Animated Feature. A belovedsequel indeed, as the Toy Story franchisenow counts $3.04 billion.
Disney didn’t gocheap on this long-awaited sequel, this time directed by Josh Cooley, spendingwell over $500 million in global costs. After $1.073 billion in box office(lower than Incredibles 2‘s $1.2 billion WW, yet higher than ToyStory 3‘s $1.066B), global theatrical rentals were also over a halfbillion, fueling total worldwide revenues of $871M. Talent participations aretypically lower for voice-over actors on animated pics versus live-action, butthere’s some legacy talent here with stars Tom Hanks and Tim Allen, plus KeanuReeves in the mix, who shared in $45M. Total net profit wound up at a sweet$368M.
Pixar is keen to space its sequels outyears apart, with Toy Story 4 arriving nearlya decade after 2010’s Toy Story 3. It’sa fail-safe recipe for box office success: Rather than just pump out sequels,Disney-Pixar creates demand with fans continually waiting, capitalizing onthose who’ve grown up along with a new generation of kids. The town knew Toy Story 4 was another notch inDisney’s multibillion-dollar-grossing, summer-blockbuster belt, they justdidn’t know how high it would go. Many analysts forecast that the money to bemade by Toy Story 4, at least stateside, wouldapproach Incredibles 2‘s animated domestic debutrecord of $182.6 million or $20M less. That didn’t happen, and Toy Story 4 came in even belowDisney’s hoped-for $140M stateside start with $120.9M. Some box office analystsblamed that on Disney failing to open Toy Story 4 overthe traditional Pixar launch period of Father’s Day weekend. However, Disneywas looking at the global play; including overseas, Toy Story 4 turnedout to be the biggest global opening ever for an animated movie at $238M (nowthe second best ever after Frozen 2‘s$358.5M). Toy Story 4 ultimatelysurprised at the Oscars, taking the trophy for Best Animated Feature. A belovedsequel indeed, as the Toy Story franchisenow counts $3.04 billion.
Disney didn’t gocheap on this long-awaited sequel, this time directed by Josh Cooley, spendingwell over $500 million in global costs. After $1.073 billion in box office(lower than Incredibles 2‘s $1.2 billion WW, yet higher than ToyStory 3‘s $1.066B), global theatrical rentals were also over a halfbillion, fueling total worldwide revenues of $871M. Talent participations aretypically lower for voice-over actors on animated pics versus live-action, butthere’s some legacy talent here with stars Tom Hanks and Tim Allen, plus KeanuReeves in the mix, who shared in $45M. Total net profit wound up at a sweet$368M.
《玩具总动员4》原文简译
皮克斯一直以来比较喜欢把续集隔得很开，这一次，玩4和玩3之间影迷等了将近十年。对于经典作品来说，这是一种相对保险的做法——IP价值不至于被迅速榨干，相反，等待与怀旧会让年长的影迷走进影院，并把他们的下一代培养为粉丝。
影片上映前，许多分析认为影片能够在北美逼近《超人总动员2》所创造的1.83亿的动画开画记录，然而影片最终只收获了1.21亿开画，甚至比一向保守的迪士尼所预期的1.4亿还要低。分析认为迪士尼应当提前一周在皮克斯传统的父亲节档期上映，然而迪士尼的眼光也许更多地放在暑期相对较晚的全球市场——玩具4的全球开画2.38亿成功创造了动画影片全球开画记录（年底被冰2大幅超过）。影片也最终将玩具总动员系列的历史票房推上了30亿美元。
动画电影的配音分红一般都比较低，但这一次包括汤姆汉克斯、蒂姆艾伦以及基努李维斯的明星配音阵容还是要分走4500万。影片的影院分成就已经足够收回大额的5亿总支出，并最终为迪士尼带来了3.68亿的收益。
皮克斯一直以来比较喜欢把续集隔得很开，这一次，玩4和玩3之间影迷等了将近十年。对于经典作品来说，这是一种相对保险的做法——IP价值不至于被迅速榨干，相反，等待与怀旧会让年长的影迷走进影院，并把他们的下一代培养为粉丝。
影片上映前，许多分析认为影片能够在北美逼近《超人总动员2》所创造的1.83亿的动画开画记录，然而影片最终只收获了1.21亿开画，甚至比一向保守的迪士尼所预期的1.4亿还要低。分析认为迪士尼应当提前一周在皮克斯传统的父亲节档期上映，然而迪士尼的眼光也许更多地放在暑期相对较晚的全球市场——玩具4的全球开画2.38亿成功创造了动画影片全球开画记录（年底被冰2大幅超过）。影片也最终将玩具总动员系列的历史票房推上了30亿美元。
动画电影的配音分红一般都比较低，但这一次包括汤姆汉克斯、蒂姆艾伦以及基努李维斯的明星配音阵容还是要分走4500万。影片的影院分成就已经足够收回大额的5亿总支出，并最终为迪士尼带来了3.68亿的收益。
接@ZYH1607小吧的问题，大概按DL的收支表随便估算一下，我对国内市场也不太了解，有错误还请指出
按38%分账算，加上大概1e的网播版权费+海外版权费，基本就是全部收入了
战狼2收入22.3e
哪吒收入20e
流浪地球18.5e
支出方面
制作成本：战狼2说是2e，哪吒1.2，流浪地球3-5e取个4e中间值
宣发成本：战狼和哪吒暑期档大概1e左右，流浪地球春节档还得撕排片大概要多点到1.5e
碟片、杂项：没有碟市、工会、外币，有发达的结算系统，应该没多少钱
利息+经常性费用：按DL惯例的16%制作成本算
分红：两部真人电影的大牌吴京兼任投资人，那应该他拿的是收益分成，不用算分红。其他（配音）演员基本拿不到多少
总收益这么算下来
战狼19e，哪吒17.6，流浪地球12.4e；折合上映当月汇率的美元战狼2.85e，哪吒2.56e，破球1.84e
在DL相应年份排行，战狼2排17年第6，哪吒破球分列19年第10、12
放在DL排过的最小年2014年的话，战狼和哪吒都能排第1，破球可以排在6-8名的样子
按38%分账算，加上大概1e的网播版权费+海外版权费，基本就是全部收入了
战狼2收入22.3e
哪吒收入20e
流浪地球18.5e
支出方面
制作成本：战狼2说是2e，哪吒1.2，流浪地球3-5e取个4e中间值
宣发成本：战狼和哪吒暑期档大概1e左右，流浪地球春节档还得撕排片大概要多点到1.5e
碟片、杂项：没有碟市、工会、外币，有发达的结算系统，应该没多少钱
利息+经常性费用：按DL惯例的16%制作成本算
分红：两部真人电影的大牌吴京兼任投资人，那应该他拿的是收益分成，不用算分红。其他（配音）演员基本拿不到多少
总收益这么算下来
战狼19e，哪吒17.6，流浪地球12.4e；折合上映当月汇率的美元战狼2.85e，哪吒2.56e，破球1.84e
在DL相应年份排行，战狼2排17年第6，哪吒破球分列19年第10、12
放在DL排过的最小年2014年的话，战狼和哪吒都能排第1，破球可以排在6-8名的样子
小丑没能打破此前由小黄人保持的2.26的DL有统计以来（自2013年起）回报率记录
冰雪2打破了此前由冰雪1保持的DL有统计以来（自2013年起）动画电影总盈利记录（注：虽然严格来说，由于DL忽视了当时刚上映的日本票房以及严重低估了冰1的碟片市场，实际上冰1应该在6e+，不过反正Elsa牛 笔就完事了）
妇联4打破了此前由星战7保持的DL有统计以来（自2013年起）总盈利记录
DL今年不仅盈利估计普遍发大水，还铁了心要奶出个迪宝盛世来
冰雪2打破了此前由冰雪1保持的DL有统计以来（自2013年起）动画电影总盈利记录（注：虽然严格来说，由于DL忽视了当时刚上映的日本票房以及严重低估了冰1的碟片市场，实际上冰1应该在6e+，不过反正Elsa牛 笔就完事了
）妇联4打破了此前由星战7保持的DL有统计以来（自2013年起）总盈利记录
DL今年不仅盈利估计普遍发大水，还铁了心要奶出个迪宝盛世来
今年普遍在票房分成，电视授权（包含流媒体）上比较高，宣发成本则较往年同类影片少
可能原因有：
1. dl在疫情期间发大水，高估盈利以提振信心+强调影院上映的重要性
2. dl正视了近年来大公司分成话语权提高、流媒体竞价大战、宣发数字化等趋势
可能原因有：
1. dl在疫情期间发大水，高估盈利以提振信心+强调影院上映的重要性
2. dl正视了近年来大公司分成话语权提高、流媒体竞价大战、宣发数字化等趋势