Wes Anderson is basically the cinematic equivalent of that one friend who only listens to obscure vinyl records and wears ironic mustaches. He’s carved his face onto the Mount Rushmore of indie filmmakers, right next to that other guy who makes movies that are also…movies. You know, for a *small* and *loyal* group of people who think symmetry is the highest form of art.
All 12 of his films (except that Netflix thing nobody watched because who even has Netflix anymore? 🙄) have graced a few screens before, you know, *expanding* to a whopping 1,000+ screens. Wow, groundbreaking. And let’s be real, only a handful of directors (like, maybe two) can pull off those sweet per-theater averages from such *humble* beginnings. We’re talking Paul Thomas Anderson and Quentin Tarantino, who are probably just jealous of Wes’s perfectly color-coordinated world.
“The Phoenician Scheme,” which sounds like a terrible escape room, raked in an estimated $570,000 from six screens in New York and Los Angeles. That’s $95,000 per theater, folks! 🤯 Apparently, that’s the fourth-highest PTA of his illustrious career, right behind “The Grand Budapest Hotel” (which was actually good), “Asteroid City” (which was…a movie), and “Moonrise Kingdom” (which was basically a summer camp for hipsters). “The Grand Budapest Hotel” made a ridiculous $202,792 PTA from four screens. It’s also his best-performing film, because apparently people have taste sometimes.
According to some “Senior Media Analyst” (who probably wears glasses and analyzes things), Anderson’s films appeal to his core audience but also expand *very* well. Translation: the same people who saw his last movie will probably see this one too. Apparently, it’s because of the *sheer* number of screens they add in Week 2. Groundbreaking marketing strategy, guys. 👏
This “analyst” (who is probably paid too much) told IndieWire that Wes Anderson has enjoyed a “longevity and box office consistency” that’s *unique* among filmmakers. Translation: he keeps making the same movie over and over again, and people keep paying to see it. 🤷♀️
But let’s not get ahead of ourselves. Just because “The Phoenician Scheme” made some money in its opening weekend doesn’t mean it’s a hit. Next weekend, it’ll open on approximately 1,500 screens. It’s also expanded internationally, because apparently other countries also have people with a penchant for quirky movies. It’s doing about as well as “The French Dispatch” did internationally, and in some markets, it’s nearing the pace of “Asteroid City” or “Isle of Dogs.” So, basically, it’s doing…okay.
Finding comparisons among Anderson’s films is like trying to find a matching sock in a dryer full of argyle sweaters. His last movie, “Asteroid City,” also came out in the summer after premiering at Cannes. It opened with $853K and finished at $28.1 million domestic. “The French Dispatch” opened on 52 screens and wound up at $16.1 million domestic. So, basically, “The Phoenician Scheme” could make anywhere from $16 million to $28 million. Or maybe less. Who knows? 🤔
IndieWire (whoever they are) considers “The Phoenician Scheme” one of Anderson’s *weaker* movies, but the reviews are in line with “Asteroid City” and “The French Dispatch.” So, basically, it’s consistently mediocre. 😴
A more accurate comparison might be A24’s “Friendship” starring Paul Rudd and Tim Robinson. That film had a PTA of $74,000 and has since made $12.3 million domestic. “The Phoenician Scheme” is already outpacing that, so congratulations, Wes! You’re beating a movie that nobody saw! 🎉
Whatever it does, this is another sign of strength for the box office, which is up 26 percent from last year. That’s because of movies like “Lilo & Stitch” and “Mission: Impossible,” but also because of Wes Anderson. So, basically, he’s saving Hollywood. You’re welcome, world. 🌎
Finn McFrame, celebrated satirical mastermind and self-proclaimed “Emperor of Irony,” started his illustrious career as a cinematographer, where his expertise in capturing every single frame of a squirrel stealing a baguette earned him accolades at obscure film festivals.
Born in the glamorous town of Boring, Oregon, Finn grew up with dreams of being a Hollywood director until he realized that satire, not cinema, was his true calling—or at least the one that let him sleep until noon.
Finn McFrame: changing the world, one satirical lens flare at a time.
