Sony Bond Franchise Revenue Data Reporting:
Bankable Bonds
#1
S. Connery x17 Factor
7 Films (6 cannon/1 non-cannon)
Connery Films Bankable Factor: +24.64
Connery Films Profit Factor: +9.35
Bankability Index Factor: +17.0
Dr. No 1962
Production Cost: $1,000,000
Marketing Cost: $100,000
US Gross: $16,100,000
Overseas Gross: $43,500,000
Worldwide Gross: $59,600,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$6,435,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $15,565,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$22,000,000
US Admissions: 19 million
Overseas Admissions: 53.1 million
Worldwide Admissions: 72.1 million
Net Studio Income From Box Office: $20,900,000
From Russia With Love 1963
Production Cost: $2,500,000
Marketing Cost: $500,000
US Gross: $24,800,000
Overseas Gross: $54,100,000
Worldwide Gross: $78,900,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$9,924,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $19,376,000
Theatrical Worldwide Rentals(studio net profits before production and marketing costs): $29,300,000
US Admissions: 26.8 million
Overseas Admissions: 68.5 million
Worldwide Admissions: 95.3 million
Net Studio Income From Box Office: $26,300,000
Goldfinger 1964
Production Cost: $3,500,000
Marketing Cost: $500,000
US Gross: $51,100,000
Overseas Gross: $73,800,000
Worldwide Gross: $124,900,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$22,998,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $26,602,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$49,600,000
US Admissions: 54.9 million
Overseas Admissions: 75.2 million
Worldwide Admissions: 130.1 million
Net Studio Income From Box Office: $45,600,000
Thunderball 1965
Production Cost: $11,000,000
Marketing Cost: $2,000,000
US Gross: $63,600,000
Overseas Gross: $77,600,000
Worldwide Gross: $141,200,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$28,621,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $26,279,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$54,900,000
US Admissions: 74.8 million
Overseas Admissions: 91.2 million
Worldwide Admissions: 166 million
Net Studio Income From Box Office: $43,900,000
You Only Live Twice 1967
Production Cost: $9,500,000
Marketing Cost: $2,000,000
US Gross: $43,100,000
Overseas Gross: $68,500,000
Worldwide Gross: $111,600,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$19,389,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $24,611,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$44,000,000
US Admissions: 36.2 million
Overseas Admissions: 45.5 million
Worldwide Admissions: 81.7 million
Net Studio Income From Box Office: $32,500,000
Diamonds Are Forever 1971
Production Cost: $7,200,000
Marketing Cost: $2,800,000
US Gross: $43,800,000
Overseas Gross: $72,200,000
Worldwide Gross: $116,000,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$19,727,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $25,973,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$45,700,000
US Admissions: 26.6 million
Overseas Admissions: 43.7 million
Worldwide Admissions: 70.3 million
Net Studio Income From Box Office: $35,700,000
Never Say Never Again 1983 (non-cannon)
Production Cost: $36,000,000
Marketing Cost: $5,000,000
US Gross: $55,400,000
Overseas Gross: $104,600,000
Worldwide Gross: $160,000,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$28,200,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $29,100,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$57,300,000
US Admissions: 17.6 million
Overseas Admissions: 33.2 million
Worldwide Admissions: 50.8 million
Net Studio Income From Box Office: $16,300,000
#2
G. Lazenby x8.6 Factor
1 Film
Lazenby Film Bankable Factor: +12.49
Lazenby Film Profit Factor: +4.63
Bankability Index Factor: +8.6
On Her Majesty's Secret Service 1969
Production Cost: $7,000,000
Marketing Cost: $1,000,000
US Gross: $22,800,000
Overseas Gross: $64,600,000
Worldwide Gross: $87,400,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$9,117,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $23,283,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$32,400,000
US Admissions: 16 million
Overseas Admissions: 46.4 million
Worldwide Admissions: 62.4 million
Net Studio Income From Box Office: $24,400,000
#3
R. Moore x7.6 Factor
7 Films
Moore Films Bankable Factor: +10.78
Moore Films Profit Factor: +4.36
Bankability Index Factor: 7.6
Live And Let Die 1973
Production Cost: $7,000,000
Marketing Cost: $5,000,000
US Gross: $35,400,000
Overseas Gross: $126,400,000
Worldwide Gross: $161,800,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$15,925,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $45,475,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$61,400,000
US Admissions: 20.1 million
Overseas Admissions: 71.5 million
Worldwide Admissions: 91.6 million
Net Studio Income From Box Office: $49,400,000
The Man With The Golden Gun 1974
Production Cost: $7,000,000
Marketing Cost: $6,000,000
US Gross: $21,000,000
Overseas Gross: $76,600,000
Worldwide Gross: $97,600,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$9,450,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $27,550,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$37,000,000
US Admissions: 11.2 million
Overseas Admissions: 40.4 million
Worldwide Admissions: 51.6 million
Net Studio Income From Box Office: $24,000,000
The Spy Who Loved Me 1977
Production Cost: $14,000,000
Marketing Cost: $16,000,000
US Gross: $46,800,000
Overseas Gross: $138,600,000
Worldwide Gross: $185,400,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$24,365,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $55,535,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$79,900,000
US Admissions: 21 million
Overseas Admissions: 62.1 million
Worldwide Admissions: 83.1 million
Net Studio Income From Box Office: $49,900,000
Moonraker 1979
Production Cost: $34,000,000
Marketing Cost: $3,000,000
US Gross: $70,300,000
Overseas Gross: $140,000,000
Worldwide Gross: $210,300,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$38,036,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $53,764,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$91,800,000
US Admissions: 28 million
Overseas Admissions: 57.1 million
Worldwide Admissions: 85.1 million
Net Studio Income From Box Office: $54,800,000
For Your Eyes Only 1981
Production Cost: $28,000,000
Marketing Cost: $4,000,000
US Gross: $54,800,000
Overseas Gross: $140,500,000
Worldwide Gross: $195,300,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$26,578,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $53,522,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$80,100,000
US Admissions: 22.4 million
Overseas Admissions: 47.9 million
Worldwide Admissions: 70.3 million
Net Studio Income From Box Office: $48,100,000
Octopussy 1983
Production Cost: $27,500,000
Marketing Cost: $5,000,000
US Gross: $67,900,000
Overseas Gross: $119,600,000
Worldwide Gross: $187,500,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$34,031,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $48,969,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$83,000,000
US Admissions: 21.6 million
Overseas Admissions: 37.9 million
Worldwide Admissions: 59.5 million
Net Studio Income From Box Office: $50,500,000
A View to a Kill 1985
Production Cost: $30,000,000
Marketing Cost: $5,000,000
US Gross: $50,300,000
Overseas Gross: $102,100,000
Worldwide Gross: $152,400,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$25,316,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $40,284,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$65,600,000
US Admissions: 14.2 million
Overseas Admissions: 28.7 million
Worldwide Admissions: 42.9 million
Net Studio Income From Box Office: $30,600,000
#4
T. Dalton x3.0 Factor
2 Films
Dalton Films Bankable Factor: +4.25
Dalton Films Profit Factor: +1.76
Bankability Index Factor: +3.0
The Living Daylights 1987
Production Cost: $40,000,000
Marketing Cost: $5,000,000
US Gross: $51,100,000
Overseas Gross: $140,100,000
Worldwide Gross: $191,200,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$27,879,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $41,121,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$69,000,000
US Admissions: 13.1 million
Overseas Admissions: 35.8 million
Worldwide Admissions: 48.9 million
Net Studio Income From Box Office: $24,000,000
Licence To Kill 1989
Production Cost: $42,000,000
Marketing Cost: $5,000,000
US Gross: $34,700,000
Overseas Gross: $121,500,000
Worldwide Gross: $156,200,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$16,200,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $59,000,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$75,200,000
US Admissions: 8.7 million
Overseas Admissions: 30.4 million
Worldwide Admissions: 39.1 million
Net Studio Income From Box Office: $28,200,000
#5
P. Brosnan x2.65 Factor
4 Films
Brosnan Films Bankable Factor: +3.79
Brosnan Films Profit Factor: +1.5
Bankability Index Factor: +2.65
GoldenEye 1995
Production Cost: $60,000,000
Marketing Cost: $20,000,000
US Gross: $106,400,000
Overseas Gross: $247,000,000
Worldwide Gross: $353,400,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$46,099,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $83,801,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$129,900,000
US Admissions: 24.7 million
Overseas Admissions: 56.5 million
Worldwide Admissions: 81.2 million
Net Studio Income From Box Office: $49,900,000
Tomorrow Never Dies 1997
Production Cost: $110,000,000
Marketing Cost: $30,000,000
US Gross: $125,300,000
Overseas Gross: $221,300,000
Worldwide Gross: $346,600,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$58,889,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $92,711,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$151,600,000
US Admissions: 27.3 million
Overseas Admissions: 48.2 million
Worldwide Admissions: 75.5 million
Net Studio Income From Box Office: $11,600,000
The World Is Not Enough 1999
Production Cost: $135,000,000
Marketing Cost: $35,000,000
US Gross: $126,900,000
Overseas Gross: $263,100,000
Worldwide Gross: $390,000,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$63,500,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $92,400,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$155,900,000
US Admissions: 25 million
Overseas Admissions: 52.1 million
Worldwide Admissions: 77.1 million
Net Studio Income From Box Office: -$14,100,000
(Even though this is the only Bond film to lose money through its box office earnings, it still made a +$26,000,000 total earnings however counting DVD/video sales/video rentals/pay-per-view tv rights/tv rights/cable tv rights/merchandising/miscellaneous, etc. So like all other Bond films, it did earn a profit.)
Die Another Day 2002
Production Cost: $142,000,000
Marketing Cost: $38,000,000
US Gross: $160,900,000
Overseas Gross: $295,100,000
Worldwide Gross: $456,000,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$80,500,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $103,300,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$183,800,000
US Admissions: 27.8 million
Overseas Admissions: 47.2 million
Worldwide Admissions: 78.6 million
Net Studio Income From Box Office: $3,800,000
#6
D. Niven x2.6 Factor
1 Film (non-cannon)
Niven Film Bankable Factor: +3.67
Niven Film Profit Factor: +1.53
Bankability Index Factor: +2.6
Casino Royale 1967
Production Cost: $12,000,000
Marketing Cost: $1,000,000
US Gross: $25,000,000
Overseas Gross: $19,000,000
Worldwide Gross: $44,000,000
Theatrical US Rentals (studio net profits before production and marketing costs):
$11,400,000
Theatrical Overseas Rentals (studio net profits before production and marketing costs): $7,000,000
Theatrical Worldwide Rentals (studio net profits before production and marketing costs):
$18,400,000
US Admissions: 20.5 million
Overseas Admissions: 15.6 million
Worldwide Admissions: 36.1 million
Net Studio Income From Box Office: $5,400,000
Studio Income Generated Through Box Office Receipts
1. Roger Moore $307,300,000 (7 Films)
2. Sean Connery $221,200,000 (7 films)
3. Timothy Dalton $52,200,000 (2 Films)
4. Pierce Brosnan $51,200,000 (4 Films)
5. George Lazenby $24,400,000 (1 Film)
6. David Niven $5,400,000 (1 Film)
Studio Income Generated Per Film Through Box Office Receipts
1. Roger Moore $43,400,000
2. Sean Connery $31,700,000
3. Timothy Dalton $26,100,000
4. George Lazenby $24,400,000
5. Pierce Brosnan $12,800,000
6. David Niven $5,400,000
2005 Inflated Studio Income Generated Through Box Office Receipts
1. Sean Connery $1,252,120,000 (7 films)
2. Roger Moore $875,350,000 (7 Films)
3. George Lazenby $129,380,000 (1 Film)
4. Timothy Dalton $85,370,000 (2 Films)
5. Pierce Brosnan $64,920,000 (4 Films)
6. David Niven $31,460,000 (1 Film)
2005 Inflated Studio Income Generated Per Film Through Box Office Receipts
1. Sean Connery $178,900,000
2. George Lazenby $129,380,000
3. Roger Moore $125,050,000
4. Timothy Dalton $42,685,000
5. David Niven $31,460,000
6. Pierce Brosnan $16,230,000
Bond Numberss - Sony Stock Option Figures
Started by
ACE
, Aug 30 2005 04:09 PM
6 replies to this topic
#2
Mister Asterix
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- The Admiralty
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- 15519 posts
Commodore RNVR
- Location:38.6902N - 89.9816W
Posted 30 August 2005 - 04:18 PM
[mra]Wow.
Though I do believe these numbers mostly show the increased costs of making films, you can see why Sony wouldn
Though I do believe these numbers mostly show the increased costs of making films, you can see why Sony wouldn
#3
Jim
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- Commanding Officers
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- 14266 posts
Commander RNVR
- Location:Oxfordshire
Posted 30 August 2005 - 04:18 PM
2005 Inflated Studio Income Generated Through Box Office Receipts
1. Sean Connery $1,252,120,000 (7 films)
2. Roger Moore $875,350,000 (7 Films)
3. George Lazenby $129,380,000 (1 Film)
4. Timothy Dalton $85,370,000 (2 Films)
5. Pierce Brosnan $64,920,000 (4 Films)
6. David Niven $31,460,000 (1 Film)
2005 Inflated Studio Income Generated Per Film Through Box Office Receipts
1. Sean Connery $178,900,000
2. George Lazenby $129,380,000
3. Roger Moore $125,050,000
4. Timothy Dalton $42,685,000
5. David Niven $31,460,000
6. Pierce Brosnan $16,230,000
Wow.
Billion Dollar Bond, eh?
#4
ACE
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- Veterans
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- 4543 posts
Commander
Posted 30 August 2005 - 04:25 PM
The concern at Eon (and I guess all studios and production companies), before the release of DAD, was increasing production costs.
These figures present the "safeness" of retaining Brosnan in a different light.
Certainly to the Sony board.
Of course, MGM must have mismanaged the spend and cost is always inflated for studio purposes (a film auditor I know is a tax exile because of this!) and post takeover.
But makes very interesting and, upon analysis, grim reading.
ACE
These figures present the "safeness" of retaining Brosnan in a different light.
Certainly to the Sony board.
Of course, MGM must have mismanaged the spend and cost is always inflated for studio purposes (a film auditor I know is a tax exile because of this!) and post takeover.
But makes very interesting and, upon analysis, grim reading.
ACE
Edited by ACE, 30 August 2005 - 04:26 PM.
#5
Bon-san
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- Veterans Reserve
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- 4124 posts
Commander RNR
- Location:USA
Posted 31 August 2005 - 07:08 PM
Certainly a good example of the increased costs of movie-making. But I would resist drawing bold conclusions from this "data" in light of the changes in studio accounting over the years. Not to mention the huge increase in tangential revenue streams that has been concomitant with decreasing reliance on first-run box office.
#6
ACE
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- Veterans
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- 4543 posts
Commander
Posted 31 August 2005 - 07:10 PM
Certainly a good example of the increased costs of movie-making. But I would resist drawing bold conclusions from this "data" in light of the changes in studio accounting over the years. Not to mention the huge increase in tangential revenue streams that has been concomitant with decreasing reliance on first-run box office.
I agree Bon-san. And these figures were prepared in contemplation of or post the purchase of a company. They serve all sorts of purposes.
#7
Connery_Moore_Gods
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- Crew
- 25 posts
Midshipman
Posted 16 September 2005 - 05:13 PM
That is quite interesting. Consider this, the older films have a much higher revenue on Tv and merchandising. Also they are all being sold equally in box sets on video and DVD. That is astonishing, because what it means basically is the Connery films have made more than the Brosnan films even without inflation. Brosnan would be wise to stick at $17 million in his salary demands.