Last year, the original Pixar film “Elemental” looked doomed with the worst opening weekend in studio history, but turned into the box office comeback of the year. DreamWorks Animation’s latest film, “The Wild Robot,” hopes to chart a similar path to theatrical success.
去年，皮克斯原創電影《元素方城市》以該工作室史上最差的首週票房開局，看似注定失敗，卻成為了年度最佳票房逆轉。夢工廠動畫最新力作《野生機器人》希望能夠走上類似的戲院成功之路。
Despite rave early reviews, projections for the Universal release remain very low, with most projecting a start in the $20 million range similar to the $25 million start last weekend for Paramount’s “Transformers One.”
儘管獲得早期好評如潮，這部環球影業發行的電影預測票房仍然偏低，大多數預測其首週票房將在 2000 萬美元左右，類似於派拉蒙的《變形金剛：萬眾一心》上週末2500 萬美元的開局。
As an adaptation of Peter Brown’s book series, “The Wild Robot” is not strictly speaking an original film. It’s in the vein of literary adaptations DreamWorks has picked up dating back to its first big CG-animated hit, “Shrek,” which was loosely based on a children’s book by William Steig.
作為彼得·布朗系列小說的改編作品，《野生機器人》嚴格來說並非原創電影。它屬於夢工廠一直以來改編文學作品的傳統，可以追溯到其第一部大獲成功的 CG 動畫片《史瑞克》，該片 loosely 改編自威廉·斯泰格的兒童讀物。
The most recent DreamWorks book adaptation, “The Bad Guys,” opened to just under $24 million in 2022 and grossed $97 million domestic and $250 million worldwide, prompting Universal and DreamWorks to greenlight a sequel for next year.
夢工廠最近的一部改編自書籍的電影《壞蛋聯盟》在 2022 年首週票房接近 2400 萬美元，最終在國內市場斬獲 9700 萬美元，全球票房達 2.5 億美元，促使環球影業和夢工廽決定明年推出續集。
With its beautiful animation style and moving tale of a robot stranded in a forest that adopts an orphaned gosling, “The Wild Robot” has the potential to win over audiences and show similar legs to “The Bad Guys.” If audiences embrace it as much as the critics, it could go even further, taking advantage of a lack of competing family titles in October and early November for a run similar to the $154 million domestic/$496 million global total of “Elemental.”
憑藉其精美的動畫風格和感人至深的故事情節——一個被困在森林中的機器人收養了一隻孤兒小鵝——《野生機器人》有潛力贏得觀眾青睞，展現出類似於《壞蛋聯盟》的長線票房表現。如果觀眾像影評人一樣喜愛這部作品，它甚至可能更進一步，利用 10 月和 11 月初缺乏競爭的家庭電影檔期，創造出類似《元素方城市》1.54 億美元國內票房和 4.96 億美元全球票房的佳績。
But the fact that “The Wild Robot” must take the long road to box office success compared to instant hit sequels to films like “Inside Out” and “Despicable Me” shows how much familiar characters and narratives have come to dominate the family market since the pandemic shutdown.
然而，《野生機器人》必須走上漫長的票房成功之路，而非像《腦筋急轉彎》和《神偷奶爸》等系列電影的續集那樣立即成為票房大片，這一事實表明，自疫情停擺以來，熟悉的角色和故事情節在家庭市場中已變得多麼舉足輕重。
And sometimes even that is not enough, as Paramount is looking for “Transformers One” to leg out based on strong buzz from franchise fans, hoping that will win over moviegoers who weren’t originally sold on an origin story movie from the long-running series.
有時即便如此也不夠，就像派拉蒙正指望《變形金剛：萬眾一心》能依靠系列粉絲的強烈好評來維持長線票房，希望能吸引那些最初對這部長壽系列的起源故事電影不感興趣的觀眾。
“The cost-driven selectivity that families bring into whether or not they see a movie is playing out in real time. Something like ‘Despicable Me’ which families already know and enjoy can get people in easily. In this case, familiarity breeds confidence that it’s worth the time, energy and money to go out to the theater,” said Comscore analyst Paul Dergarabedian.
"家庭對於是否去看電影的成本驅動選擇性正在實時上演。像《神偷奶爸》這樣家庭已經熟悉並喜愛的電影可以輕易吸引觀眾。在這種情況下，熟悉度會增加人們的信心，認為值得花時間、精力和金錢去電影院，"康姆斯科分析師保羅·德加拉貝迪安說道。
Pixar’s “Coco,” the last original animated film to gross over $500 million worldwide, opened to $72 million over five days on Thanksgiving weekend in 2017. “Shrek” opened to $42 million before inflation adjustment back in 2001 while another children’s book adaptation, “How to Train Your Dragon,” opened to $43 million in 2010. Both cleared $200 million in domestic grosses.
皮克斯的《可可夜總會》是最後一部全球票房超過 5 億美元的原創動畫電影，在 2017 年感恩節週末五天內開畫收入 7200 萬美元。《史瑞克》在 2001 年開畫收入 4200 萬美元（未經通貨膨脹調整），而另一部改編自兒童讀物的電影《馴龍高手》在 2010 年開畫收入 4300 萬美元。這兩部電影的國內票房都超過了 2 億美元。
“The Wild Robot” is earning critical acclaim as strong or perhaps stronger than any installment of the franchises spawned by those films, yet could very well have to settle for an opening below $30 million. The wild success of “Inside Out 2” and “The Super Mario Bros. Movie” shows that families have not abandoned theaters in the slightest, but such tracking for “Wild Robot” perhaps suggests that parents are less likely to try out something new unless they’re convinced they and their kids will enjoy it, making post-release word-of-mouth even more crucial.
《野生機器人》獲得的評論讚譽與這些電影衍生的系列作品一樣強，甚至可能更強，但開畫票房可能要屈居於 3000 萬美元以下。《腦筋急轉彎 2》和《超級馬里奧兄弟大電影》的驚人成功表明，家庭觀眾絲毫沒有放棄電影院，但《野生機器人》的票房預測似乎表明，除非父母確信他們和孩子會喜歡，否則他們不太可能嘗試新事物，這使得上映後的口碑變得更加關鍵。
“It used to be that theatrical and home video were the clear metrics with sometimes merch being taken into account, but now with streaming it just makes the formula so different,” said Dergarabedian. “Now it takes months and months to really see how much an animated film makes an impact on audiences, and it takes everyone in the room at a studio from different departments to sort it all out.”
過去，院線和家庭視頻是明確的衡量標準，有時會考慮到周邊商品，但現在有了流媒體，公式就變得如此不同，"德加拉貝迪安說。"現在需要數月時間才能真正看到一部動畫電影對觀眾的影響，而且需要電影製片廠中來自不同部門的每個人共同努力才能理清楚。
《野生機器人》（夢工廠動畫/環球影業）
Further complicating matters for both “The Wild Robot” and “Transformers One” is that Warner Bros.’ “Beetlejuice Beetlejuice” has found considerable traction with families and young adults. According to data from exhibition sources, the audience share of moviegoers age 13-24 has increased by 16 points in the second and third weekend of the Tim Burton sequel’s run compared to its Gen X driven opening weekend.
對於《野生機器人》和《變形金剛一號》來說，情況更加複雜的是，華納兄弟的《鬼靈精 2》已經在家庭和年輕成年觀眾中獲得了相當大的吸引力。根據院線來源的數據，在這部蒂姆·伯頓續集上映的第二和第三個週末，13-24 歲觀眾的比例較開畫週末（主要由 X 世代驅動）增加了 16 個百分點。
This is part of the reason why “Beetlejuice 2” has been able to hold so well, approaching $250 million domestically after holding on to the No. 1 spot last weekend against “Transformers One.”
這部分解釋了為什麼《鬼靈精 2》能夠保持如此好的票房，在上週末對抗《變形金剛一號》時仍保持第一的位置，國內票房接近 2.5 億美元。
With three well-reviewed, family friendly yet tonally unique films now on offer and with the R-rated “Joker: Folie a Deux” being the top new release next weekend it will be curious to see how audience interest shakes out this weekend and whether “Transformers One” and “The Wild Robot” will be able to have lengthy and profitable theatrical runs without cannibalizing audience interest in each other.
現在有三部評價良好、適合家庭但風格獨特的電影上映，加上下週末 R 級電影《小丑：瘋狂雙人組》將成為最大的新片，本週末觀眾興趣如何分配將會很有趣，同時也要看《變形金剛一號》和《野生機器人》是否能夠在不相互蠶食觀眾興趣的情況下，實現長期且有利可圖的院線放映。
Meanwhile, cinephiles will at long last get a chance to see Francis Ford Coppola’s long-gestating and critically polarizing “Megalopolis,” as Lionsgate brings it to theaters this weekend.
與此同時，電影愛好者終於有機會看到法蘭西斯·福特·科波拉醞釀已久且評價兩極的《巨大都市》，獅門影業將於本週末在影院上映。
It has been a long road for this movie starring Adam Driver and Giancarlo Esposito as a brilliant architect and a corrupt mayor clashing over humanity’s future. The film was first conceived by Coppola in 1977 shortly after completing “Apocalypse Now,” but was shelved after a string of box office failures until Coppola decided to fund the film himself, selling his Sonoma wineries to fund the film’s $120 million budget.
這部由亞當·德萊弗和詹卡洛·埃斯波西托主演的電影，講述了一位傑出建築師與一位腐敗市長就人類未來發生衝突的故事，經歷了漫長的製作過程。科波拉最初在 1977 年完成《現代啟示錄》後不久就構思了這部電影，但在一連串票房失利後被擱置，直到科波拉決定自資拍攝，出售他在索諾瑪的酒莊以籌集 1.2 億美元的預算。
Upon its premiere at Cannes, “Megalopolis” sharply divided critics, carrying a 52% Rotten Tomatoes score. Screenings for the film for Hollywood’s top studio execs led to the movie largely being passed on until Lionsgate reached a distribution-only deal in June, with Coppola covering the marketing costs.
《巨大都市》在戛納首映時引發了評論界的嚴重分歧，在爛番茄網站上獲得了52%的評分。好萊塢頂級製片廠高管的試映會後，這部電影基本上被各大公司婉拒，直到獅門影業在六月達成了一項僅限發行的協議，市場營銷費用由科波拉自己承擔。
How much Coppola, who has voiced his plans for other filmmaking projects, needs “Megalopolis” to make to keep bringing his cinematic visions to reality is unclear. But what is clear is that “Megalopolis” is likely to do worse than than “Horizon: An American Saga — Chapter 1,” the first of a planned four-part series partially self-funded by writer-director Kevin Costner that had the release of “Chapter 2” indefinitely put on hold after it only made $29 million in the U.S. from an $11 million opening.
科波拉已表示有其他電影製作計劃，但目前尚不清楚他需要《巨大都市》賺多少錢才能繼續實現他的電影願景。不過可以確定的是，《巨大都市》的表現很可能會比《地平線：美國傳奇—第一章》更差。後者是編劇兼導演凱文·科斯特納部分自資的計劃四部曲系列的第一部，在美國首週票房僅 1100 萬美元，最終只收獲 2900 萬美元，導致「第二章」的上映無限期推遲。
“Megalopolis” is tracking to open to roughly half that at $5-7 million, and given the mixed reception is unlikely to find an audience outside of Coppola’s devoted fans and the most fervent of cinema lovers.
《巨大都市》的首週票房預計只有 500 萬到 700 萬美元左右，考慮到評價褒貶不一，除了科波拉的忠實粉絲和最狂熱的電影愛好者外，恐怕難以吸引更多觀眾。
For Lionsgate, this will be the fifth straight wide release for the studio with an opening weekend of below $10 million. But unlike some past recent misfires like “Borderlands,” Lionsgate holds no expenses beyond what it paid to acquire the distribution costs along with a percentage of the box office. With such a low bar, insiders tell TheWrap that Lionsgate should recoup its costs on “Megalopolis” within a week of theatrical play.
對獅門影業來說，這將是該公司連續第五部首週票房低於 1000 萬美元的廣泛上映電影。但與最近一些失敗作品如《邊境之地》不同，獅門影業在這部電影上除了支付發行成本和分享部分票房收入外，沒有其他開支。由於成本門檻如此之低，業內人士告訴 TheWrap，獅門影業應該能在《巨大都市》上映一週內收回成本。
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