"Before filming the puppetry scenes in Chicago, we rehearsed for two whole months, but Duke was still unsatisfied with the results of our rehearsals. Take after take, Naomi and I..."
On NBC’s morning show Today, Tom Cruise, Naomi Watts, and Catherine Zeta-Jones were earnestly promoting the film, revealing behind-the-scenes stories. Although the movie’s primary audience was nostalgic viewers, much like the fabricated rumors about Duke and Zeta-Jones’s fake romance, the crew was actively working to attract a broader audience.
Sitting at the dining table opposite the television, Duke calmly ate the breakfast his mother had left for him. A knock on the door sounded from outside, followed by Tina Fey exchanging greetings with the maid. Shortly after, the assistant walked into the dining room. Thɪs chapter is updated by 𝓷𝓸𝓿𝓮𝓵•𝓯𝓲𝓻𝓮•𝓷𝓮𝓽
Duke casually pointed to the chair across from him. Tina Fey took out a folder from her bag, sat down, glanced at the three stars energetically hyping the film on TV, and opened the folder. "Duke, yesterday’s daily box office statistics have arrived."
Setting down his coffee cup, Duke swallowed the food in his mouth. "Let’s hear about the situation with the three newly released films."
"Friday’s 24-hour box office stats," Tina Fey said after glancing at the numbers on the document. "Paramount’s Star Trek: First Contact, showing in 2,812 theaters, grossed $9.87 million. Miramax’s The English Patient, showing in 268 theaters, grossed $950,000. Our Chicago, showing in 100 theaters, grossed $980,000."
"$9,800 per theater for a single day?" Duke lightly tapped his cup. "Not bad, better than I expected."
Given the film’s pre-release promotion and the reputation Chicago had built up over the years, its limited release was bound to result in explosive per-theater earnings. According to projections by Duke’s studio and Warner Bros., the film’s three-day opening weekend per-theater average should exceed $20,000. Now, with $9,800 on its first day, and Saturday typically outperforming Friday, the opening weekend per-theater average could potentially break the $30,000 mark.
With such a trend, it was clear that 100 theaters wouldn’t be enough to satisfy market demand.
Thinking of this, Duke said, "Tina, any other stats?"
"Star Trek: First Contact had a 21.3% average occupancy rate and a 67% audience approval rating. Several analysis agencies predict that its box office will sharply decline after the first weekend. The English Patient had a 39% occupancy rate and an 82% approval rating. Its limited theater count makes its outlook unclear. Chicago had a 79.5% occupancy rate and a 96% approval rating. Audience word-of-mouth is phenomenal, and market analysis suggests that if we expand its release, the box office could see rapid growth."
"Expand the release?"
That would require negotiations with theater chains, which couldn’t be rushed. Duke asked again, "What about the audience demographics?"
"Yesterday, 210,000 people watched Chicago. Audiences over 40 made up about 70% of viewers, while students accounted for less than 20%. The older demographic overwhelmingly gave the film positive reviews."
Given the limited number of theaters showing the movie, the audience was naturally restricted. Those who initially chose to watch were primarily musical enthusiasts or loyal fans of Duke and Tom Cruise, making the audience relatively niche. This ensured that non-genre fans or those who blindly purchased tickets were unlikely to walk into the theaters. As a result, the movie received extraordinarily high word-of-mouth during its initial release.
When this was coupled with effective promotion, it created a sense of anticipation.
Most people, when they see a film they think is excellent, will recommend it to those around them. Those who receive such recommendations often form preconceived opinions, spreading positive word-of-mouth even further. Adding to this was the film’s pre-existing reputation and the extensive promotional efforts; once the market accumulated enough buzz, an expanded release could unleash massive energy.
This approach was arguably the most suitable marketing strategy for relatively niche genre films.
Chicago already had significant recognition, supported by numerous favorable factors, and its quality was undoubtedly solid. By Saturday evening, more than half of the theaters among the 100 showing Chicago reported rare sellout situations.
"Hello, this is Emperor Entertainment..."
The public phone line for Emperor Cinemas was ringing incessantly from morning onward. "We understand your urgent request. Emperor Entertainment will coordinate with its theaters as soon as possible. Chicago will be screened in more theaters as quickly as we can."
"Hello, this is Emperor Entertainment... You’d like to inquire about Chicago’s release in Annapolis? Sorry, sir, we don’t have..."
Before the sentence was finished, a string of profanities came from the other end. However, by this point, Emperor Entertainment staff had become accustomed to it. Many impatient viewers, upon hearing that the movie wasn’t yet screening in their city, would often leave a few choice words, expressing their frustration.
By Sunday, this situation hadn’t improved—in fact, it had escalated to the point of being featured on CNN’s live news broadcast.
Outside several theaters in New York and Chicago showing Chicago, older viewers were seen holding signs with written pleas. Their goal was singular: to persuade those with reserved tickets to transfer them.
Reporters interviewed some of these individuals. One of them said, "My friends saw the film yesterday—it’s amazing. I’m a musical enthusiast, and I can’t wait any longer. But the theater has no tickets. All of today’s tickets are sold out. I don’t want to wait anymore and hope someone will give up their ticket for me."
Chicago was facing a severe ticket shortage! The demand for tickets far exceeded the supply.
All signs were conveying the same message to audiences: the movie was extraordinarily popular. For those who had watched it, the thought of how impressive it must be to cause such a frenzy only heightened curiosity.
Not only older audiences but also the younger demographic began hearing about the film’s glowing reviews. These younger viewers were the ones most engaged by the pre-release promotional materials and tabloid gossip surrounding Duke, Tom Cruise, and Catherine Zeta-Jones.
Though the movie could never attract younger audiences like sci-fi or action films, the studio employed every marketing tool available to draw in as many as possible.
On Sunday, Naomi Watts and Catherine Zeta-Jones visited New York University and collaborated with the school’s musical theater group for a live performance. The event captivated the youth demographic.
"They’re even more stunning in person than on the poster!"
The internet had already taken root in North American campuses, especially among Ivy League schools. Discussions exploded on East Coast university forums that evening.
"I was Zeta-Jones’s backup dancer. She’s so sexy. Her singing and dancing were incredible—I think she’s more charming than Julia Roberts!"
"I can’t wait to see what they’ll do in the movie, but I couldn’t get tickets."
"Yeah, no tickets. I called several theaters, and they’re all sold out."
"If the tickets sell this fast, the film must be amazing..."
In Santa Monica Commercial Plaza, Los Angeles, a promotional event had just ended. Anthony Minghella walked out and got into a waiting car.
"How much has Warner Bros. spent on Chicago’s promotion?"
Anthony Minghella asked Harvey Weinstein, seated beside him. "They’ve created such a buzz."
"I heard they allocated $15 million at Duke Rosenberg’s request," Harvey Weinstein replied calmly.
"$25 million production cost and $15 million for marketing!" Anthony Minghella’s lips twitched. "Aren’t they worried about losing money?"
"Don’t forget the director’s name: Duke Rosenberg. He has market value," Harvey Weinstein motioned for the driver to start the car. "On Saturday, Chicago made $1.25 million from 100 theaters!"
Hearing this figure, even Harvey Weinstein felt a slight tremor. Despite being the same genre and having a small-scale release, The English Patient grossed only $970,000 from 268 theaters. The difference was stark.
He glanced at Anthony Minghella, suddenly understanding the situation. When it came to artistic techniques, even three Duke Rosenbergs might not compare to Anthony Minghella. But when it came to market demand, ten Anthony Minghellas wouldn’t match Duke Rosenberg.
Miramax’s Oscar campaign for The English Patient had one ultimate goal: commercial success.
Perhaps after this year’s Oscars, Weinstein thought, he could collaborate with Duke Rosenberg. But this fleeting idea vanished, given that Chicago might be The English Patient’s strongest competitor at the Oscars.
He needed to think hard about how to smear Duke Rosenberg and Chicago.
At AMG Cinemas headquarters, newly appointed CEO Paul studied the data before him. Across the desk, Lynch, recently promoted to vice president of the cinema department, was doing the same.
Paul suddenly looked up and asked, "How many AMG theaters are screening Chicago right now?"
"Only ten," Lynch replied solemnly. "But just these ten theaters have brought in $285,578 as of 3 PM today."
"It seems Duke Rosenberg’s genre films can’t be underestimated."
The choice wasn’t difficult to make. Paul said, "Starting tomorrow, allocate some of our unused theaters to Chicago. If it maintains a high per-theater average by next weekend, we’ll go all in!"
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