As the first film in North American box office history to surpass $100 million in its September opening, American Sniper owed its massive success in part to the sluggish state of the market in August.
This past August had marked the slowest box office performance in over 15 years for the North American film market, creating a pent-up demand for a "savior." That savior arrived in the second week of the fall season in the form of American Sniper, which burst onto the scene with an undeniable The One aura.
After over a month of stagnation, the North American film market needed a spark, and American Sniper had all the ingredients to provide one.
September has traditionally been a dead zone for movies, with most high-profile releases opting for the spring or fall months instead.
Matthew glanced over the list of films released that month: End of Watch, Trouble with the Curve, House at the End of the Street—all either low-budget productions or B-movies. None posed any real threat or competition to American Sniper.
In a slow season, any breakout film tends to dominate the market, and that's exactly what happened.
Although audience interest inevitably waned slightly after opening weekend, American Sniper maintained strong attendance during the weekdays, raking in $45.3 million over four days, with each day's earnings staying above $10 million.
By the time the second weekend rolled around, the film's North American box office total was approaching $200 million.
With favorable societal conditions and sustained box office success, both Matthew's production team and Warner Bros.' distribution team ramped up promotional efforts. Articles praising the film flooded print and digital media, amplifying its already glowing reputation.
The mainstream media's stance was strikingly unanimous, showering the film with praise.
Social media further amplified its popularity. Influential articles circulating online included sentiments like:
- "Clint Eastwood's films are like this—'seemingly sparse yet resonating loudly,' like a piece of red-hot coal. It doesn't burn, but it radiates incredible heat."
- "While titled American Sniper, it isn't your typical war film. At a time when anti-war themes dominate global discourse, this movie presents a unique perspective, showing the interplay between life and death in war and peace. Clint Eastwood masterfully humanizes a legendary figure, imbuing the film with depth and soul."
- "Though the battle scenes are not the film's focal point, they are depicted with a relative degree of authenticity. For those seeking high-octane action, I recommend the Expendables series instead."
Fueled by events such as the Benghazi consulate attack, American Sniper sparked some controversy. However, mainstream opinion deemed its narrative politically unassailable.
"This Clint Eastwood-directed, Matthew Horner-starring film is an undeniable success. Its intense battle sequences and finely tuned psychological portrayals enhance its impact. The themes of heroism resonate deeply, prompting viewers to reevaluate the very concept of war."
"War isn't just about weapons, bloodshed, and territorial disputes. It shapes the fates of soldiers and the countless families connected to them. That's the essence of a war film."
When a movie aligns with societal trends and fulfills the needs of mainstream audiences, it becomes a cultural phenomenon—even if it isn't a cinematic masterpiece. Just as Black Panther became synonymous with excellence, American Sniper followed suit.
As the film's lead actor and one of Hollywood's top commercial stars, Matthew also became the subject of numerous glowing profiles.
"In American Sniper, Matthew's most impactful performance comes during the protagonist's return to civilian life. The scene where his wife goes into labor, and Matthew makes a sharp U-turn on a rural highway as if it were Iraq's desert, brilliantly conveys his lingering wartime mentality. His outburst outside the hospital delivery room reflects both his heightened state of mind from the war and his helplessness as a father unable to comfort his crying daughter."
"Another standout moment is when Matthew's character drinks alone at a bar after returning home. Physically, he's back in America, but mentally, he's still on the battlefield, with his fallen comrades. His guilt and fear come through vividly, showing a man torn between returning to the war zone or staying home as a self-perceived coward. A timely phone call from his wife grounds him just before he's about to make a fateful decision."
With no significant competition and bolstered by a wave of post-9/11 patriotism, American Sniper maintained an astonishingly steady box office trajectory.
During its second weekend, the film's earnings dropped only 49% from its opening weekend, pulling in an additional $69.2 million.
In just ten days, American Sniper had grossed $251.4 million in North America.
Exploiting the patriotic fervor of American audiences didn't weigh on Matthew's conscience.
After all, it wasn't just him—Hollywood and the global film industry had been doing this for years.
While the film hadn't yet been released outside North America, its domestic success had garnered international attention. Initially, fewer than 60 countries and regions had committed to distributing the film, with many markets hesitant due to its subject matter.
But the explosive opening weekend and steady second-weekend performance quickly dispelled doubts.
For profit-driven companies, concerns fade in the face of guaranteed returns.
By the time American Sniper entered its third week of release, over 80 countries and regions had committed to distributing it.
Even a company from across the Pacific had approached Bella Anderson to negotiate licensing the film for DVD and streaming in their market—a market where a theatrical release for such a film was impossible.
Matthew instructed Bella to hold off on negotiations until American Sniper reached an even higher box office total, ensuring stronger leverage.
With the film's international rollout starting the following weekend, Matthew and the production team planned to fly out for promotional events in key markets.
While still in Los Angeles, Matthew took the opportunity to handle some other business matters.
"The North American revenue share for The Hunger Games has been credited to our account," Bella Anderson reported during a meeting at the Thirteen Studio office. "After deducting distribution fees and promotional costs, Warner Bros. transferred $115.2 million to us."
Matthew nodded. "Our total investment, including production and marketing, was around $95 million, correct?"
"Yes," Bella confirmed, checking her report. "To be precise, $95.16 million."
Matthew smiled with satisfaction. "That's $20 million in profit from North America alone. Many blockbuster films these days struggle to recoup their costs domestically. What about international earnings?"
Bella replied, "The international release hasn't concluded yet. Warner Bros. estimates that the overseas revenue share will be credited by late January or early February next year."
"Got it." Matthew wasn't in a rush. Like all businesses, film profits take time to materialize. He added, "Once the profits are in, set them aside—I have other plans for them."
Bella nodded. "Understood."
Matthew paused, then added, "The same goes for The Avengers."
"That's my next update," Bella said. "Disney informed us that the first installment of North American revenue for The Avengers will be credited at the end of next month, totaling approximately $50 million. The remaining domestic earnings will be transferred by year's end."
She continued, "International revenue will also arrive next year."
Matthew nodded again. "Keep the profits from both films separate. I have plans for those as well."
Both films were poised to generate massive profits. Matthew had already decided to allocate a portion to charity and use the rest to purchase a private jet.
With that in mind, he said, "Bella, start gathering information on private business jets. Focus on models with a good reputation."
"Will do," Bella replied, understanding her boss's intent.
After discussing other company matters, Bella brought up another topic before Matthew left.
"As per Amanda's schedule, the studio is set to donate $5 million in scholarships to USC this week. Should I attend, or will you go personally?"
Matthew considered his calendar. "I'll go."
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