Smile: Horror Title Turns From Streaming To Theatrical Release Franchise, Ranked #10 In Deadline’s 2022 Most Valuable Blockbuster Tournament

Deadline’s Most Valuable Blockbuster tournament took a hiatus during the pandemic, as theaters were closed for most of 2020-2021, distributing theatrical titles both on the big screen and on the studio’s respective streaming platforms. Back from this pandemic brink, film studios have largely retired to their theatrical release models and the downstream money they can bring. Not to mention their strength in launching IPs around the world with huge global marketing campaigns. When it comes to evaluating the financial performance of top films, it’s not about how much a film costs at the box office. The true story is told as production budgets, P&A, talent royalties and other costs collide with box office and ancillary revenue from VOD to DVD and TV. To get closer to that mysterious end of the equation, Deadline is recapping our Most Valuable Blockbuster tournament for 2022, using data from experienced and trusted sources.

THE MOVIE

Smile
Paramount Pictures

Although many studios prioritize movies for their streaming services, or even support them with simultaneous day-and-date big-screen releases (such as Universal with Halloween kills and the Halloween ends Theatrical and Peacock release), here was a groundbreaking case of a studio remaking a title destined to stream to theatrical releases. Smile was created by Temple Hill and shared by Paramount Players for Paramount+. Temple Hill’s Isaac Klausner and Adam Fishbach found a short film by Parker Finn, which they then developed into a feature film. They sold it to then-executives Jeremy Kramer and Nathan Samdahl of Paramount Players (the latter now at Walter Hamada’s 18hz on-the-lot horror label). Paramount Pictures President/CEO Brian Robbins was on hand to see the working title film Something is wrong with Rose. He was so upset that he called the studio’s head of marketing and global sales, Marc Weinstock, to encourage a theatrical release. The film did incredibly well and only added momentum to the film’s eventual screen debut. What was required, as tests also clearly showed, was a title change. Smile was born, and now everyone is laughing, from the studio heads to the producers. September 30 was set as the ideal release date when the fall market ran out of big tentpoles due to the post-production pipeline being clogged due to the pandemic. Under the Weinstock team, a frugal $50 million global marketing campaign with some innovations: A freaky guerrilla facet is grinning spectators caught on camera at sporting events.

The result? A domestic opening of $22.6 million, a finale of $105.9 million, and a worldwide gross of $217.4 million were the result of a production cost of $17 million. A new franchise called the “Mean” universe was born, and Finn signed a multi-year first-look deal.

THE BOX SCORE

IT COMES AFTER

The picture of $80 million in streaming and TV earnings includes the money Paramount itself pays to distribute the film on Paramount+. It’s a new post-pandemic financial practice that requires studios to pay themselves to send their titles to their own streaming services, in what in some cases is a pay-one TV window for some. Smile Hits Paramount+ and digital on November 15, 47 days after grossing more than $103 million in theaters. The film also had a pay-TV window on MGM+ (formerly Epix), where Paramount has its deal. Participation here thanks to a cinema debut, Finn, Temple Hill and the stars of the picture earned $ 15 million. The advantage of going to the cinema here instead of streaming? Net income of $101 million after all additional charges.