United Kingdom Box Office for Norman: The Moderate Rise and Tragic Fall of a New York Fixer (2017)
| Theatrical Performance (US$) | ||
| United Kingdom Box Office | $50,055 | Details |
| Worldwide Box Office | $6,068,999 | Details |
| Further financial details... | ||
Synopsis
Norman Oppenheimer lives a lonely life in the margins of New York City power and money, a would-be operator dreaming up financial schemes that never come to fruition. As he has nothing real to offer, Norman strives to be everyone’s friend, but his incessant networking leads him nowhere. Always on the lookout for someone willing to pay attention to him, Norman sets his sights on Micha Eshel, a charismatic Israeli politician alone in New York at a low point in his career. Sensing Eshel’s vulnerability, Norman reaches out with a gift of a very expensive pair of shoes, a gesture that deeply touches Eshel. When Eshel becomes Prime Minister three years later, he remembers. With his very real connection to the leader of a major nation, Norman is awash in the respect he has always craved. Flush with his newfound feeling of success, Norman attempts to use Eshel’s name to leverage his biggest deal ever: a series of quid pro quo transactions linking the Prime Minister to Norman’s nephew, a rabbi, a mogul, his assistant, and a treasury official from the Ivory Coast. Norman's kaleidoscopic plans soon go awry, creating the potential for an international catastrophe he must struggle to prevent.
Metrics
Movie Details
| United Kingdom Releases: | June 9th, 2017 (Wide) |
| Video Release: | July 11th, 2017 by Sony Pictures Home Entertainment |
| MPAA Rating: | R for some language. (Rating bulletin 2465 (Cert #50945), 3/1/2017) |
| Running Time: | 118 minutes |
| Keywords: | Politicians, Set in New York, Set in Israel, Confidence Men, White Collar Crime, Rags to Riches, Riches to Rags, Political Drama, Government Corruption |
| Source: | Original Screenplay |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Tadmor Group, Cold Iron Pictures, Blackbird, Movie Plus, The Solution Entertainment Group |
| Production Countries: | Israel, United States |
| Languages: | English, Hebrew |
Home Market Releases for July 11th, 2017
July 11th, 2017
This week, the home market is led by The Fate of the Furious, which is the number one film both in terms of worldwide box office and alphabetically. It earned well over $1 billion worldwide, but it is losing the charm the franchise thrived on during the past few installments. As for the Pick of the Week, I’m going with Underground, Season Two, or the Two-Season box set.
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Theater Averages: Wonder Woman Kisses the Top of the Chart with $24,790
June 7th, 2017
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Wonder Woman dominated the theater average chart with an average of $24,790. Second place went to The Exception, a.k.a., The Kaiser’s Last Kiss, which earned an average of $10,675 in two theaters.
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Theater Averages: Abacus Counts its Blessing with $12,528
May 24th, 2017
The only film in the $10,000 club was Abacus: Small Enough to Jail, which earned $12,528 in its lone theater during its opening weekend. The only other film that came close was Alien: Covenant, which earned an average of $9,615.
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Theater Averages: Galaxy Grabs $33,704 on Theater Average Chart
May 10th, 2017
Not only did Guardians of the Galaxy Vol 2 earn first place on the weekend box office chart, it was also the top film on the theater average chart earning an average of $33,704. This is the fourth best result of the year so far, second best for a wide release. (Beauty and the Beast is still the best of the year with an average of $41,508.) Second place went to the re-release of Stalker with $20,540 in its lone theater. The Lovers was the only other film in the $10,000 club with an average of $16,572 in four theaters.
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Theater Averages: Going From A to Zed with $27,544
April 19th, 2017
The Lost City of Z led the way on the theater average chart with an average of $27,544 in four theaters. The film is expanding into several hundred more theaters this Friday, so this is a great start. The overall number one film, The Fate of the Furious, was next with an average of $22,920. Norman: The Moderate Rise and Tragic Fall of a New York Fixer opened with nearly $100,000 in five theaters for an average of $19,842. The final film in the $10,000 club was Chasing Trane with $16,626 in its lone theater.
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Weekend Estimates: Fate’s $100 Million Stateside Dwarfed by Huge International Haul
April 16th, 2017
The Fate of the Furious is, as expected, posting great opening numbers domestically, with Universal projecting a $100.2 million opening weekend, but the real news this weekend is the record breaking in international markets. Helped by a gigantic $190 million in China—the biggest-ever three-day weekend in that territory—Fate is headed for an overseas debut of $432.2 million, according to the studio. That’s easily the biggest international weekend of all time, beating Jurassic World’s $316.7 million. It’s also ahead of the inflation-adjusted international opening for Harry Potter and the Deathly Hallows, Part II, which earned $314 million on its first weekend internationally, roughly equivalent to $375 million today.
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Limited and VOD Releases: Don’t Get Lost on the Way to the Theater
April 14th, 2017
We have a bumper crop of limited releases this week, with several that are earning outstanding reviews. Unfortunately, this means there’s way too much competition for all of them to thrive. The Lost City of Z has the loudest buzz and I think that will give it the edge at the box office.
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Norman Trailer
March 15th, 2017
Comedy starring Richard Gere opens April 14 ... Full Movie Details.
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Because some of our sources provide box office data in their local currency, while we use USD in the graph above and table below, exchange rate fluctuations can have effect on the data causing stronger increases or even decreases of the cumulative box office.
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Screens | Per Screen | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| 2017/06/09 | - | $22,949 | 88 | $261 | $22,949 | 1 | |
| 2017/06/16 | - | $3,630 | -84% | 17 | $214 | $50,055 | 2 |
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
|---|---|---|---|---|---|---|---|
| Argentina | 11/3/2017 | $35,093 | 0 | 0 | 0 | $58,530 | 1/1/2019 |
| Australia | 5/26/2017 | $61,554 | 28 | 28 | 151 | $277,725 | 7/18/2017 |
| Brazil | 5/5/2017 | $151,501 | 0 | 0 | 0 | $285,234 | 6/26/2018 |
| Italy | 9/29/2017 | $425,434 | 0 | 0 | 0 | $902,243 | 10/18/2017 |
| New Zealand | 5/26/2017 | $6,448 | 13 | 13 | 40 | $21,465 | 6/26/2017 |
| North America | 4/14/2017 | $99,211 | 5 | 373 | 1,205 | $3,814,868 | |
| Portugal | 5/19/2017 | $2,075 | 3 | 3 | 12 | $14,591 | 6/26/2017 |
| Spain | 6/2/2017 | $230,907 | 127 | 128 | 451 | $644,288 | 7/13/2017 |
| United Kingdom | 6/9/2017 | $22,949 | 88 | 88 | 105 | $50,055 | 6/21/2017 |
| Worldwide Total | $6,068,999 | 1/1/2019 | |||||
Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue are available through our research services. For more information, please contact us at research@the-numbers.com.
Leading Cast
| Richard Gere | Norman Oppenheimer |
Supporting Cast
| Lior Ashkenazi | Micha Eshel |
| Hank Azaria | Srul Katz |
| Steve Buscemi | Rabbi Blumenthal |
| Charlotte Gainsbourg | Alex Green |
| Michael Sheen | Philip Cohen |
| Dan Stevens | Bill Kavish |
| Josh Charles | Arthur Taub |
| Harris Yulin | Jo Wilf |
| Yehuda Almagor | Duby |
| Neta Riskin | Hanna |
| Dov Glickman | Ron Maor |
| Tali Sharon | Naomi Eshel |
| Isaach de Bankolé | Jacques |
| Miranda Bailey | Taub’s Assistant |
| Scott Shepherd | Bruce Schwartz |
| Azi Schwartz | Cantor |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
| Joseph Cedar | Director |
| Joseph Cedar | Screenwriter |
| Oren Moverman | Producer |
| Gideon Tadmor | Producer |
| Eyal Rimmon | Producer |
| David Mandil | Producer |
| Miranda Bailey | Producer |
| Lawrence Inglee | Producer |
| Jim Kaufman | Executive Producer |
| Amanda Marshall | Executive Producer |
| Caroline Kaplan | Executive Producer |
| Michal Graidy | Executive Producer |
| Carrie Fix | Co-Producer |
| Luca Borghese | Co-Producer |
| Myles Nestel | Co-Executive Producer |
| Lisa Wilson | Co-Executive Producer |
| Yaron Scharf | Director of Photography |
| Brian A. Kates | Editor |
| Kalina Ivanov | Production Designer |
| Arad Sawat | Production Designer |
| Jun Miyake | Composer |
| Hal Willner | Music Producer |
| Michelle Matland | Costume Designer |
| Laura Rosenthal | Casting Director |
| Lee Shira | Line Producer |
| Racheli Sternberg | Associate Producer |
| Michal Wolff | Visual Effects Supervisor |
The bold credits above the line are the "above-the-line" credits, the other the "below-the-line" credits.