Hollywood
‘American Sniper’ becomes highest-grossing film of 2014
MUMBAI: Warner Bros. Pictures’ and Village Roadshow Pictures’ American Sniper has surpassed two more major milestones, emerging as the top-grossing domestic release of 2014. The film has also surpassed half a billion dollars worldwide, and still climbing.
To date, the film has grossed an estimated $337.2 million at the domestic box office, and still counting, making it the highest-grossing film in director Clint Eastwood’s long and illustrious career. Among its many other records, American Sniper is also the number one war movie of all time and the top-grossing film in the career of Bradley Cooper, who earned his third consecutive Oscar nomination, for his portrayal of the film’s title character, Chris Kyle.
In addition to its North American success, American Sniper is drawing large numbers of moviegoers overseas, where it is currently in release in 57 markets. The film, to date, has earned an estimated $163 million at the international box office, for an extraordinary worldwide total of $500.2 million and rising.
Warner Bros. Pictures president of domestic distribution Dan Fellman said, “From its record-breaking Christmas opening, American Sniper has been a box office phenomenon. The film’s A+ CinemaScore in every category has translated into enthusiastic word-of-mouth that continues to generate both first-time and repeat business. We could not be happier for Clint Eastwood, Bradley Cooper, Sienna Miller and everyone on the incredible filmmaking team on this remarkable achievement.”
Warner Bros. Pictures president of worldwide marketing and international distribution Sue Kroll added, “American Sniper has become a cultural touchstone that people want to share, discuss and remember. We are thrilled that the movie is still filling theatres, not only in the United States but around the globe, as filmgoers everywhere experience the power of the story of Chris and Taya Kyle.”
“We are all so proud of American Sniper. Its box office success is not only a testament to the talents of Clint, Bradley and all those involved in the film, but also a measure of our appreciation for the sacrifices of all veterans and their families. Congratulations to our partners at Village Roadshow and Ratpac-Dune and everyone behind American Sniper on reaching another momentous benchmark,” said Warner Bros. Pictures president, creative development and worldwide production Greg Silverman.
Warner Bros. Pictures president, international distribution Veronika Kwan Vandenberg noted, “Clint Eastwood has delivered a powerful story on the personal cost of conflict, and the response we’re seeing internationally reflects the universal reach of this compelling drama. Along with our partners at Village Roadshow, we couldn’t be more thrilled with these spectacular results.”
Hollywood
Did the ballet and opera controversy cost Timothée Chalamet his Oscar?
The actor’s ‘dying art forms’ comments may have danced away his Oscar chances.
LOS ANGELES: Last night, the 98th Academy Awards delivered a performance that wasn’t in the script, as Michael B. Jordan clinched the Best Actor statue, leaving Timothée Chalamet’s widely predicted win to pirouette away into the night. While Chalamet was long considered the frontrunner for his starring turn in Marty Supreme, many are whispering that a singular, ill-timed performance, not on screen but on the campaign trail, may have rewritten the finale.
For months, the narrative surrounding the race had a singular star, Chalamet, the critics’ darling and the bookies’ bet. However, the closing numbers saw a dramatic plot twist. Chalamet found himself upstaged not just by his fellow nominees but by the ghost of public opinion, following remarks he made during a Variety and CNN actor-on-actor conversation in February.
What started as a breezy discussion turned distinctly frosty when Chalamet, the conversation’s designated trendsetter, took aim at some classical institutions. “I don’t want to be working in ballet or opera, where no one is interested anymore,” he said, before branding them “dying art forms.”
The backlash was swift and, unfortunately for Chalamet’s campaign, star-studded. For the film industry, an establishment that often fancies itself as the glamorous custodian of the high arts, the actor’s comments didn’t just strike a bum note. They sounded like a discordant symphony. Academy heavyweights, including Jamie Lee Curtis, Whoopi Goldberg and Steven Spielberg, publicly voiced their disapproval. Spielberg himself countered that the “cinematic experience” and classical performance are bound by a similar dedication to audience engagement, effectively suggesting that Chalamet’s view was perhaps a bit too modern for its own good.
The conversation quickly became a media maelstrom. In a masterstroke of high-culture clapback, renowned ballerina Misty Copeland didn’t just issue a statement. The Academy even choreographed a surprise performance by her for the ceremony itself, a powerful, wordless rebuttal that many saw as a direct riposte to Chalamet’s dismissive claims. Even regional arts institutions joined the choreography. The Seattle Opera offered a cheeky “TIMOTHEE” discount, granting a 14 percent markdown to prove that people do, in fact, care.
Did this cultural counterpoint truly cost Chalamet his win? While some industry insiders argue that Michael B. Jordan’s complex dual performance in Sinners, a performance that also swept the SAG Awards, had simply built up too much momentum, the timing of Chalamet’s comments was undeniably poor. Coming as final Oscar voting began, they arguably soured his narrative and made a vote for him feel, to some, like a vote against artistic unity.
Even the ceremony itself wasn’t finished with the narrative. Host Conan O’Brien, whose sharp tongue is a celebrated feature of these galas, didn’t miss a beat. “Security is extremely tight tonight,” O’Brien jibed during his opening monologue, glancing toward the front row. “I’m told there are concerns about attacks from both the opera and ballet communities. They’re just mad you left out jazz!”
The laughter that followed was pointed, a final public curtain call for a controversy that Chalamet likely wished had closed weeks ago. Whether it was a case of genuine peer disapproval, a sudden surge in support for Jordan’s powerhouse performance, or simply a case of poor footwork on the campaign stage, the ballet and opera debacle has now cemented its place in Oscar history. Chalamet’s experience serves as a clear memo to future contenders. Even when you are the headline act, a solo performance can still fall flat if you forget to play to the entire house.
