#1 in the marketplace and still great news for Disney is its $218M holdover Oz The Great And Powerful. This juggernaut at the box office had a strong midweek performance now that about 18% of kids are out of school for spring break. And there’s still little else in the way of family fare in the marketplace at this time. Now expect a 10-day domestic total of around $144.9M with
$11.4M Friday and more than $42M for this second weekend.
This Wizard Of Oz prequel crossed the $100M domestic mark in only 6 days. “We benefited by the fact that that we were the first big event film which had the halo effect of people talking about it over the weekend and wanting to go see it if they didn’t have the chance,” a Disney exec analyzes. On Saturday, the studio provided me with an updated foreign gross since last weekend’s $69.9M.
Oz crossed $100M international on Friday. That’s with 80% of the marketplace open and big countries like France & China left to go.
Worldwide cume is $245Mand counting.
MILA KUNIS: I went to Africa with Ian, the CEO of Gemfields and my friend Kim, to see the company’s work firsthand, and I was blown away. Here’s how you can tell – they bring you into a community and the kids are so excited to see you. The adults are hugging everybody and are so welcoming. They all had such a legitimate relationship with everyone at Gemfields, and were so thrilled to have the team in their homes and their schools. It was all very honest and heartfelt. And I was sold. I feel very proud and connected to what they are doing and I feel great speaking openly about it.
MILA KUNIS: They are buying mines, transforming them, and making them very ethical. And when they do, they do it from the ground up. They give local contracts to their employees and set a standard for consistency in the community.
MILA KUNIS: In Zambia, there aren’t paved roads, but the people are all so well educated in their own right, and they care for their environment and their animals so much. They care where things are dumped and how they’re processed, and what we call recycling, they call living. It was a really eye opening experience.
MILA KUNIS: The kids, as cliché as it sounds.
MILA KUNIS: Yes I went to schools. They’ve put in electricity, they have books, paper and pens. There are in cement buildings, as opposed to the mud buildings you see everywhere there, and they have chalkboards and tables. They have a place for hundreds of kids to come to. And they are rolling that out more and more.
Another thing they’re doing for the community that I love is teaching the people in the community to garden, so all the local vegetables come from the local gardens.
MILA KUNIS: I hope so, we are planning a trip to Mozambique to look at the ruby mines and meet the people there.
She’s played everything on the big screen from a psychotic serial killer in American Psycho II: All American Girl to a lesbian ballerina in Black Swan, while finding equal success on TV in popular series like That 70’s Show and Family Guy. None of her past experiences, however, prepared Mila Kunis for the challenge she faced playing the witch named Theodora in the new Sam Raimi film, Oz the Great and Powerful. Without giving it away, Theodora changes during the course of the film from a naïve, yet powerful witch experiencing love for the first time to young woman suffering her first heartbreak with surprising results. It’s a role that was made iconic in the popular 1939 version of the story, and, as she talks about in the following interview, Kunis had some very big shoe to fill and they weren’t ruby red slippers.
MILA KUNIS: You know it was one of those things where I got very nervous about playing such an iconic character or at least playing a character that had such an iconic end result. I didn’t want to ruin it and I didn’t want to re-create it and I didn’t want to re-interpret it. So in order for me to wrap my head around it, I had to make sense of her origin. And then it was just given to me, kind of like a gift. I mean, here’s a girl who’s incredibly naïve and very young and doesn’t believe she’s almost worthy of love or has never really truly experienced love. She meets (James Franco’s character) and falls madly in love with him, very quickly, mind you, but nonetheless. And then she gets her heart broken and she doesn’t have the emotional tools for dealing with heartache. She doesn’t want to deal with it, so she takes the easy way route given by her sister and goes through an emotional transformation that’s mirrored by a physical one and so happens to change color. I honestly viewed her as just a normal girl who gets her heart broken who just so happens to be a witch that can fly.
MILA KUNIS: It’s damned if you do, damned if you don’t. I mean, I’d be lying if I told you that it wasn’t incredibly frightening because it is and she was phenomenal and did create such an iconic character for going on eighty years now, that is so associated with so many things, you know, let alone Oz or Halloween or witches in general, that I wasn’t gonna touch it. And not re-watch “Wizard of Oz”, I didn’t go there because there was no way of me ever doing it justice. And so this is the 21st version of that, I guess, which is maybe … there’s a corset involved and it’s a little tighter and she’s maybe not hunched over so much. But what she did will forever be, in my mind, the greatest witch of all time. It’s like a love letter to her, I guess, in a way.
MILA KUNIS: Why, thank you.
MILA KUNIS: I apparently I like it because I keep doing movies that require wires so I guess I had a great time. The truth is it’s not hard. It’s really not hard to be wired and to have somebody else be responsible for the wire work your life. Your only responsibility is to sustain seventeen hours on those wires. I guess I do work out a little bit for that purpose. Like the movie that I’m doing that’s following up this one, I think, requires a lot more wire training than this one did. But at least this one I know prepped me for it. I love it. I have to tell you, I do.
MILA KUNIS: The Wachowski movie (Jupiter Ascending. That one requires a lot of wires. A lot. Everything seems to be wired.
MILA KUNIS: Very rarely are you given the opportunity to have such a fantastical character. That’s the truth. And so it’s really fun. Now, I say this because I had incredible actors that I felt safe with and I had the most incredible safety net of Sam Raimi and Joe. I knew that should I maybe not do the greatest of a take, I would be given another one, and another one. And so I was allowed to play around and kind of have that little tennis match back and forth. Well, if you take that away, it’s incredibly frightening because my character does have an end result that is so incredibly iconic that you just don’t want to mess it up. And you don’t want to play around with it too much ‘cause then it becomes something completely crazy and-and not believable. But, oh, God, it’s so fun to be a part of this world. So fun.
I think it’s fair enough to also post twitter photos of Gemfields VIP showcase at Philips de Pury gallery in London, yesterday. Take a look.
Firming up its 2014 release schedule,
The sci-fi Jupiter is now set for July 25, 2014. On that date, it will face off against Paramount’s Hercules, directed by Brett.
Appearances from 2013 > March 14 – Gemfields VIP showcase in London
Seth MacFarlane’s Ted has passed The Hangover Part II as
The Wrap reports that Universal’s pic starring Mark Wahlberg and MacFarlane’s trash-talking teddy bear has now hit the $327 million mark at the international box office, matching Warner Bros.’ 2011 hit The Hangover Part II. The film was first released abroad back in July.
The quirky duo comedy made an additional $1 million in Japan this weekend, putting it at $42 million there. That’s only second to the UK, which has pulled in $48 million for the Uni film.
In total, Ted has made $546 million worldwide when paired with its $218 domestic take.
I got very nervous about playing such an iconic character or at least playing a character that had such an iconic end result. And I, and I didn’t want to ruin it and I didn’t want to re-create it and I didn’t want to re-interpret it. And so in order for me to wrap my head around it, I had to make sense of her origin. And, um, and-and then it was just given to me, kind of like a gift. I mean, here’s a girl who’s incredibly naïve and very young and doesn’t believe she’s almost worthy of love, has never really truly experienced love. Meets James’s character. Falls madly in love with him, very quickly, mind you, but nonetheless. And, um, and then gets her heart broken. And-and probably doesn’t have the emotional tools of-of dealing with heartache. Doesn’t want to deal with it. Takes the easy way route, uh, given by her sister. And goes through a-an emotional transformation that’s mirrored by a physical one and so happens to change color. But, um, I honestly viewed her as just a normal girl who gets her heart broken who just so happens to be, um, a witch that can fly.
Very rarely are you given the opportunity to have such a fantastical character. That’s the truth. And so it’s really fun. Now. I say this because I had incredible actors, that I felt safe with and I had the most incredible safety net of Sam Raimi and Joe. Knowing that should I maybe not do the greatest of a take, I would get, be allow, given another one, and another one. And so I was allowed to play around and-and kind of have that little tennis match back and forth. Well, if you take that away, it’s incredibly frightening because my character does have an end result that is so incredibly iconic that you just don’t want to mess it up. And you don’t want to play around with it too much ‘cause then it becomes something completely crazy and-and not believable. But, um, oh, God, it’s so fun to be a part of this world. So fun.
I love making those horror movies but, I was really guided by Mila Kunis’s performance and what her instincts were in playing that character. And she decided that-and I’ve heard her say-that she was playing her like a woman scorned. So even though-even though-and she wasn’t really thinking about the fact that she was green, I think she’s told me she was playing it as an innocent who fell in love and her heart was broken and she suffered and she couldn’t take the suffering and wanted to end that suffering and her sister was all too willing to let that suffering end and it awakened something that was already there but just fueled the fire of-of, uh-I don’t know what you women call it, hatred, anger, mixed with love, jealousy, rage. Rage is a good word. That rage drove her. And I wasn’t tempted to-to make it more like a horror movie. I wanted her to guide us and I would follow her with the camera.
Breathing life back into the beleaguered box office, Sam Raimi’s 3D fantasy-adventure
Oz opened in a total of 46 territories, roughly 80 percent of the international marketplace.
In North America, Oz saw a hefty 35 percent as families turned out in force, making up 41 percent of the audience. Couples made up 43 percent, while teenagers made up 16 percent. The movie skewed slightly female (52 percent).