--- title: Box Office Reports Over the Last Five Years: How Movies Have Changed description: The foreign market has exploded while North America is stagnant. Women, kids and Hispanics have replaced young males as a prime demographic. And 3-D saved Hollywood canonical: https://time.com/49440/box-office-reports/ author: Richard Corliss article:opinion: false article:content_tier: free article:published_time: 2014-04-05T14:00:02.000Z article:modified_time: 2026-02-21T07:08:10.850Z article:section: Entertainment og:title: 5 Things We've Learned in 5 Years of Box Office Reports og:description: The foreign market has exploded while North America is stagnant. Women, kids and Hispanics have replaced young males as a prime demographic. And 3-D saved Hollywood og:url: https://time.com/49440/box-office-reports/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/blt493fd168be1188f1/698688663bc999fc201a2b2e/816013_full.jpg?branch=production&width=3840&quality=75&auto=webp&crop=16:9 og:image:width: 1200 og:image:height: 675 og:image:alt: Frozen og:type: article twitter:card: summary_large_image twitter:title: 5 Things We've Learned in 5 Years of Box Office Reports twitter:description: The foreign market has exploded while North America is stagnant. Women, kids and Hispanics have replaced young males as a prime demographic. And 3-D saved Hollywood twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/blt493fd168be1188f1/698688663bc999fc201a2b2e/816013_full.jpg?branch=production&width=3840&quality=75&auto=webp&crop=16:9 ---  # 5 Things We've Learned in 5 Years of Box Office Reports > Sponsored content. Supplied in partnership with Ally. 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Terms and conditions apply. * Savings buckets are a feature of Ally Bank's Savings Account. * No ATM fees from Ally Bank at Allpoint and Moneypass ATMs plus we reimburse for fees charged by other ATM owners nationwide up to $10 per statement cycle. * Early direct deposit offers eligible direct deposits up to two days sooner. * Spending buckets are a feature of Ally Bank's Spending Account. by [Richard Corliss](https://time.com/author/richard-corliss/) ## Richard Corliss Apr 5, 2014 2:00 PM UTC  FROZEN, Elsa (voice: Idina Menzel), 2013\. ©Walt Disney Pictures FROZEN, Elsa (voice: Idina Menzel), 2013\. ©Walt Disney PicturesDisney by [Richard Corliss](https://time.com/author/richard-corliss/) ## Richard Corliss Apr 5, 2014 2:00 PM UTC **Correction appended, April 8, 2014\.** Five years ago this week, TIME.com launched its Box Office Report column. Each Sunday, or Monday on holiday weekends, I’ve laden readers with stats and analysis on the business of show: the winners, losers and trends of new movies. The occasion of this anniversary (for which, hint, the traditional gift is wood) got me to wondering what’s changed in the film industry over the past half-decade. It turns out: lots. Here are five things we learned over the past five years of Box Office Reports: **1\. America doesn’t matter.** In 2009, according to [a new study by the Motion Picture Association of America](http://time.com/wp-content/uploads/2014/12/mpaa-theatrical-market-statistics-2013%5F032514-v2.pdf%20), customers in North America spent $10.6 billion on movie tickets, compared to 36% of the foreign market ($18.8 billion). Last year, domestic revenue was up a bit, to $10.9 billion, but the international tally had risen to $25 billion; so only 30% of worldwide ticket sales were from the U.S. and Canada. Business over the past five years has been stagnant here but up one-third in the rest of the world. The region the MPAA calls EMEA — Europe, the Middle East and Africa — accounted for $10.9 billion in 2013, the same as North America, while the biggest growth came from Asia Pacific: up from $7.2 billion to $11.1 billion. Japan brought in $2.4 billion, India $1.5 billion and China a celestial $3.6 billion. That China bonanza, an increase of 27% over 2012, is as much as last year’s top _dozen_ movies earned in North America. **(READ:** [**TIME.com’s first Box Office Report**](http://content.time.com/time/arts/article/0,8599,1888296,00.html%20)**)** Most blockbusters register about two-thirds of their worldwide take internationally, and some much more. The last two _Ice Age_ animated features, only moderate hits at home, amassed 80% of their global gross abroad. Foreign audiences go for action movies, even for ones Americans reject. Last month’s racecar drama _Need for Speed_ has earned less than $40 million here but $130 million (or 77% of its total gross) in foreign markets. The monster-bot movie _Pacific Rim_ struggled to reach $100 million in North America last summer; yet it made more than that ($111.9 million) in China alone. Recognizing the huge offshore potential, some smart producers have tailored their pictures to the tastes of foreign fans. Marvel’s Avengers movies (_Iron Man_, _The Incredible Hulk_, _Thor_, _Captain America_ and, for that matter, the smash that was _The Avengers_) had never earned as much as 60% of their money overseas. So for _Iron Man Three_, director Joss Whedon shot separate scenes featuring Chinese stars for the Mandarin-language version. The result: _IM3_ earned $135 million in China and Hong Kong. Its $806.4-million foreign revenue represented a healthy 66% of the movie’s $1.2-billion worldwide gross. **2\. Women do matter.** For decades, Hollywood has trusted one narrow demographic — young males — to subsidize its big-budget productions. In fact, the gender split in the domestic audience is 50-50: women attend as many movies as men do. The studios must have figured that the few femme-angled blockbusters (like _Mamma Mia!_, which earned $610 million worldwide in 2008) were flukes, and that, in the absence of “women’s pictures,” the gals would go to movies made for guys. Statistics seemed to bear out that prejudice: Of the 12 top-grossing films of 2011, only one — _The Twilight Saga: Breaking Dawn Part 1_ — boasted a leading character who was female. Credit the _Twilight_ success, which spurred other gynocentric franchises based on Young Adult novels, and the skew of girl-power animated features for the return of that beleaguered majority — women — to movie marquees. In 2012 _The Hunger Games_, _Breaking Dawn Part 2_ and Pixar’s _Brave_ were among the year’s top eight films. And last year three of the top six had female protagonists: _The Hunger Games: Catching Fire_, _Frozen_ and _Gravity_ — all released in Oct. or Nov., outside the usual blockbuster summer season. Indeed, _Catching Fire_, with Jennifer Lawrence in the lead, became the first top-grossing film of any year since 1965 (Julie Andrews in _The Sound of Music_) with a woman in the primary, starring role. **(READ:** [**Jennifer Lawrence’s Silver Lining Yearbook**](http://entertainment.time.com/2014/01/17/2013-wrapup-jennifer-lawrences-silver-linings-yearbook/)**)** Three other residents of last year’s top 10 (_Despicable Me 2_, _Monsters University_ and _Oz the Great and Powerful_) attracted strong majorities of female viewers. Now Hollywood has to think of new femme heroines — as long as she’s a warrior, a princess or a lonely space traveler. **3\. So do kids, old folks and Hispanics.** Hollywood’s traditional wheelhouse — adults 18 to 49 years old — has recently slipped a gear: movie attendance of that age group is down. But younger and older viewers are swelling the grosses. “In 2013, the share of tickets sold t0 2-11 year olds was at its highest point since 2009,” the MPAA study reports, “and the share of tickets sold to 50-59 year olds was at an all time high.” Senior citizens (60-plus) are also attending in droves. So you’ll be seeing more kid-friendly animated features, and more roundups of elderly stars as in _Lost Vegas_ — a _Hangover_ for alterkockers — and Sly Stallone’s _Expendables_ movies. Lucky oldsters. The average American “Caucasian,” as the MPAA calls the white majority, goes to just three movies a year. Fortunately for Hollywood, Hispanics have taken up the slack. They “report the highest annual attendance per capita, attending on average six times per year.” Representing 17% of the U.S. population, Hispanics have accounted for more than 30% of the audience for comedies (_Ride Along_), action films (_Furious 6_), horror movies (_The Purge_) and war epics (_Lone Survivor_). They also made their own hit: the Spanish-language dramedy _Instructions Not Included_, starring Univision TV favorite Eugenio Derbez. In the U.S. it earned $44.5 million. That’s the biggest foreign-language gross since Mel Gibson’s _The Passion of the Christ_ — except that, for the bilingual Latinos who flocked to theaters, _Instructions_ was in their own language. **(READ:** [**Who Still Goes to Foreign-Language Films?**](http://time.com/1785/does-anyone-in-the-u-s-still-go-to-foreign-films-yes-indians/%20)**)** **4\. Hollywood went digital, 3-D and IMAX.** In 2009, most theaters showed _films_ — those rickety reels of acetate that spun through projectors — as they had throughout the industry’s hundred-year history. Only about 16,000 screens were outfitted for digital projection. Now that number is 111,000, nearly seven times as many. About 80% of all theaters, here and around the world, can exhibit movies digitally. The revolution that George Lucas urged a decade ago has come to pass, and the very word “film” is an anachronism. **(READ:** [**George Lucas talks to TIME in 2006 about the digital future of movies**](http://content.time.com/time/arts/article/0,8599,1173216,00.html)**)** In our first Box Office Report, for Mar. 29, 2009, the top picture was _Monsters vs Aliens_, which was also the first 3-D feature from DreamWorks Animation. Jeffrey Katzenberg, the studio’s boss, was a missionary for 3-D, proclaiming it the most exciting innovation since talking pictures and color. The process was nothing new — it has existed in rudimentary form since 1915 — but Katzenberg’s proselytizing, plus the box-office sensation of James Cameron’s _Avatar_, helped change 3-D from a gimmick to a near-essential for blockbuster wannabes, both animated and live-action. (Christopher Nolan, maker of the _Dark Knight_ trilogy and _Inception_, remains an important holdout.) The stereopticon format had its drawbacks — those glasses darkened the true screen image and remain a minor annoyance for audiences — but it allowed distributors to charge an extra few dollars per ticket. In New York City, a customer ordering through Fandango could be paying up to $20 for a big attraction in 3-D on an IMAX screen. Along with the enormous rise in the Asian market, that gizmo surcharge can be said to have saved the movie business. The 3-D revenue spiked from $200 million in 2008 to $2.2 billion, a tenfold increase, in 2010\. For that, Hollywood can thank one film: _Avatar_, which earned $2.7 billion worldwide, most of it on 3-D screens. **(READ:** [**Why** **_Avatar_** **is a 3-D World of Wonder**](http://content.time.com/time/arts/article/0,8599,1947438,00.html)**)** Consider that the number of tickets sold annually in North America fell about 16% in the past decade, from more than 1.5 billion in 2002, 2003 and 2004 to about 1.35 billion in each of the last three years. In 2013, admissions dropped by 20 million from 2012; yet domestic revenue actually rose about $100 million. Moviegoers, at least in the U.S. and Canada, went less frequently but paid more when they did. The MPAA statistics carry a warning: “Despite an increase in films released in 3-D \[from 40 to 45\], 3-D box office ($1.8 billion) is down 1% from 2012.” Hollywood has to hope that audiences haven’t tired of paying a goggles tax on their moviegoing experience, and that the format won’t be a few-years fad that, as in the 1950s, quickly faded away. **3\. A billion dollars ain’t what it used to be.** Cameron’s _Titanic_, released in 1997, was the first movie to crack the billion-dollar barrier in worldwide gross. By Mar. 2009, when we started, four other pictures — _Star Wars: The Phantom Menace_, the third _Lord of the Rings_, the second _Pirates of the Caribbean_, and the Batman sequel _The Dark Knight_ — had joined _Titanic_ by earning at least $1 billion. In the five years since, that number has grown to 18, including last year’s _Iron Man Three_ and _Frozen_. If the billionaire’s club isn’t so exclusive these days, it’s in part because Hollywood has learned to market its biggest movies to the expanding global market, but mainly because ticket prices keep climbing — up 30% since 2004 and 13% since 2008\. Inflation tarnishes the billion-dollar sheen. In real dollars, at the domestic box office (the only numbers available), [_Titanic_ is fifth all-time, behind _Gone With the Wind_, _Star Wars_, _The Sound of Music_ and _E.T. The Extra-Terrestrial_](http://www.boxofficemojo.com/alltime/adjusted.htm). Again in real dollars, Cameron’s _Avatar_ is the only movie made in this century to appear in the all-time top 25\. On this list, _Iron Man Three_ is in 102nd place, _Frozen_ in 109th. So show some skepticism when you read [stories about a new hit like _Frozen_ passing _The Lion King_ to achieve the “all-time record”](http://www.thewrap.com/p238535) for an animated feature, with nary a mention of inflation. In real dollars, or tickets sold, the double-princess movie lags behind at least dozen earlier Disney or Pixar cartoons. By that standard, Disney’s all-time animated hit is its first: _Snow White and the Seven Dwarfs_. And on a personal note: A (noninflationary) billion thanks to readers and editors for this first five years. We’ll check back in 2019 to see if the numbers and meanings of movies have felt other seismic changes. **Correction:** The original version of this story misstated the number of tickets sold annually in North America. 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