Oh,
Baby! ‘Bridget
Jones’ Threequel Becomes UK’s No. 1 Nancy Tartaglione | Deadline – November 1,
2016 EXCLUSIVE:
On its way to $200 million worldwide, Bridget Jones’s Baby has become the biggest movie of 2016 in the UK with £46.27M through Monday – passing
The Jungle Book’s £46.2M in under seven weeks. It was already the biggest romantic comedy of all time there, topping
Bridget Jones’s Diary’s £42M. And, it sits behind The Full Monty as the No. 2 comedy ever. In all, and in dollars, this baby has grown to a strapping $193M in worldwide box office since starting offshore rollout on September 14. The grand majority of that – $169M so far – comes from overseas with little help from domestic. Directed
by the original’s Sharon Maguire, the movie still has offshore releases
to come and carries a roughly $40M price tag. So while the U.S./Canada
performance is disappointing – laboring to get to $24M – the film will
be profitable. Still,
what is it about the Renée Zellweger-starring return that has offshore
audiences flocking to the pic even outside her native Britain – and
North Americans holding back the cigars? Working
Title Co-Chairman Eric Fellner offers that the 12-year lag time between Bridget movies
may have been a factor. The last film did $40M in the U.S. and this one,
Fellner allows, “maybe wasn’t white-hot enough to catch fire other
than with the constituent audience.” A
U.S.-based exec who is not involved with the film suggests that at opening
“Sully just crushed it domestically
and that seemed to be a factor even though (Bridget) did get
strong reviews.” This person agrees with part of Fellner’s assessment,
“I think that coming 15 years after the original and 12 after the sequel
was perhaps just too long of a wait here for people to care as much.” Reviews
were indeed strong on the movie at 77% fresh. Fellner admits to being a
bit mystified by the U.S. reaction, but says, “Either you’re a hit or
you’re not. There’s not a lot of middle ground anymore.” Says
Universal Pictures International President of Distribution Duncan Clark:
“As early as script development here in London, we all had great
optimism about Bridget
and that was confirmed when we saw the very first cut. From
there the filmmakers made it a really good show and our marketing team did
a brilliant job mounting a superb campaign.” The
stars were a big part of the sell. Zellweger, Colin Firth and franchise
newcomer Patrick Dempsey traveled to a mix of Spain, France, Germany and
Japan, as well as doing promotion in the UK and the U.S. Fellner notes
that in a twist, the paparazzi may have helped in
the UK. Shutterbugs who stalked the shooting locations around London,
“created a hit mentality long before the movie come out. Renée was on
the front of every paper all the time.” Clark
concurs, “From the get-go, we have had enormous support from Renée,
Patrick, Colin, Sharon, (producer) Debra (Hayward) and Eric all the way
through to our most recent release in Japan last week. Our results have
been outstanding, particularly the UK and Holland, but in general, it has
been great and we are very proud. It is disappointing we could not crack
the U.S. – but if our marketing team there could not get it away, then
nobody could.” The
film played to sold-out shows in Britain and dominated the market at open,
then held No. 1 for three weeks. It is Working Title’s biggest movie
ever there, the biggest September release and the sixth-highest Universal
release. The
UK was the top international hub on the previous two films and this one
has surpassed them in local currency. Baby would
have already amassed well north of its nearly $60M current conversion to
overtake those films in dollars in the UK were it not for Brexit and the
severe pound drop since June. (It’s difficult to compare the previous
two films’ overall offshore hauls to today’s given currency
fluctuations. Bridget Jones’s Diary made
$210M in 2001 figures, but restated today that would be $237.9M. Edge Of Reason did
$222M in 2004, while restated that would be $184.1M.) Still,
scoring big outside North America isn’t a new phenomenon for Working
Title which recently became the only company outside the studios to cross $1B at the UK box
office. Notting Hill did
68% of its business offshore; Mr Bean’s Holiday grossed
nearly $200M overseas vs $33M in North America; Four Weddings And A Funeral likewise was a roughly
80%/20% split as was Love Actually. Edge Of Reason and Bridget Jones’s Diary also
skewed higher internationally, although the current film has the widest
divide. “We’re
used to it,” says Fellner. “We often find that the UK is the lead with
a huge number.” Interestingly, he notes that in the days before WT
movies went through Universal, “We would create a control sheet for
financials and often we would put in zero for North America in terms of
expected revenue and to determine if it was still worth it; and often it
was.” This
was about 17 years ago and “doesn’t mean one doesn’t want to do
well” in the world’s biggest box office playground, Fellner explains.
“We want to do well there, but it’s not always our primary market.” Other
markets to have performed outstandingly on BJB include
Australia with about $13M, France at $11.7M and the Netherlands, where it
became the biggest WT movie ever in
mid-October – breaking a record held by Notting Hill for
17 years. It’s now at over $10M there. After five weeks in release, it
became the No. 1 movie of 2016 in the Republic of Ireland. Fellner
continues, “We’ve all been doing this a long time and you have to grab
the wins celebrate them and not get too despondent if they don’t work.
We are thrilled and proud of this movie, especially given it’s a
threequel. We adore and love the character and she’s very much a part of
the Working Title DNA.” Whether
or not there will be a fourquel remains unclear – one would certainly
seem viable in the UK and other overseas majors. China could be a next
stop for the franchise, however. “We’ve been inundated with requests
to remake the original, which would suggest real awareness of the film
even though it was never released there,” Fellner says.
|