Australia Box Office for Paterson (2016)
Theatrical Performance (US$) | ||
Australia Box Office | $355,986 | Details |
Worldwide Box Office | $10,727,536 | Details |
Further financial details... |
Synopsis
Paterson is a bus driver in the city of Paterson, New Jersey—they share the name. Every day, Paterson adheres to a simple routine: he drives his daily route, observing the city as it drifts across his windshield and overhearing fragments of conversation swirling around him; he writes poetry into a notebook; he walks his dog; he stops in a bar and drinks exactly one beer; he goes home to his wife, Laura. By contrast, Laura’s world is ever changing. New dreams come to her almost daily, each a different and inspired project. Paterson loves Laura and she loves him. He supports her newfound ambitions; she champions his gift for poetry.
Metrics
Movie Details
Production Budget: | $5,000,000 |
Australia Releases: | December 23rd, 2016 (Wide) |
Video Release: | March 21st, 2017 by Universal Home Entertainment |
MPAA Rating: | R for some language. (Rating bulletin 2441 (Cert #50421), 9/7/2016) |
Running Time: | 118 minutes |
Keywords: | Poet, 2010s, Voiceover/Narration |
Source: | Original Screenplay |
Genre: | Comedy |
Production Method: | Live Action |
Creative Type: | Contemporary Fiction |
Production/Financing Companies: | Amazon Studios, K5 International, Le Pacte, Inkjet |
Production Countries: | United States |
Languages: | English |
Home Market Releases for April 4th, 2017
April 3rd, 2017
This is a terrible week on the home market, mostly. Rogue One: A Star Wars Story comes out on DVD or Blu-ray Combo Pack and the competition has clearly scared away any other top-level releases. The only other first-run release is Office Christmas Party, which is worth a rental, if you like anti-Christmas movies. As far as Pick of the Week contenders are concerned, there’s Rogue One... and really that’s it. There are a couple of other releases I highlighted, but they wouldn't be contenders during an average week. Don’t Kill It looks good for a low-budget horror movie, while Paterson is coming out on a featureless DVD / Blu-ray. They are worth picking up if you are a fan of their respective genres.
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Theater Averages: Kedi is the Cat’s Meow earning $40,103
February 15th, 2017
Kedi became the first movie released in 2017 to hit the $40,000 mark on the per theater chart earning $40,103 in its lone theater. A United Kingdom was next with an average of $16,628 in four theaters. This is enough to suggest it will expand, but not enough to think it will earn a significant measure of mainstream success. The only other two films in the $10,000 club were the top two films on the overall weekend chart. The Lego Batman Movie earned an average of $12,966, putting it just ahead of Fifty Shades Darker, which earned an average of $12,563.
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Theater Averages: The New Year has a Patriotic Start
January 10th, 2017
The theater average chart was dominated by holdovers, as is the norm this time of year. The top film was Patriots Day with an average of $14,972 in seven theaters. This bodes very well for its wide expansion next weekend. 20th Century Women is becoming a sleeper hit earning an average of $13,047 in ten theaters. This is one of those films that should be earning more Awards Season buzz, but I fear it has slipped between the cracks. Toni Erdmann and Paterson were neck-and-neck with averages of $10,472 and $10,205 respectively.
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Theater Averages: Hidden Stands Out with Average of $34,329
January 4th, 2017
Hidden Figures rose to first place during its first full weekend of release with an average of $34,329 in 25 theaters. It already has more than $2 million and it expands wide on Friday. 20th Century Women was next with an average of $27,800 in four theaters. It isn’t a major player during Awards Season, but it is picking up enough nominations to help it stick around in theaters. Patriots Day was down just 8% earning an average of $21,117 in seven theaters. Last week’s winner, Silence, fell to an average of $20,827 in four theaters. If it has a similar drop next week, it will put its wide release in jeopardy. The best limited release of the week was Paterson, which earned an average of $17,334 in four theaters. Toni Erdmann earned an average of $14,000 in three theaters during its first full week of release. La La Land continues to expand, but remained in the $10,000 club with an average of $12,738. The overall number one film, Rogue One: A Star Wars Story, was next with an average of $11,934, while the second place film, Sing, was right behind with an average of $10,647.
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Limited and VOD Releases: Which Releases will Make some Noise?
December 30th, 2016
The last weekend of the year is also the last chance for Oscar contenders to qualify for the Oscars. Two of the three films on this week’s list are absolutely Oscar-bait. Paterson has a better shot at Awards Season glory than The Founder does, but The Founder has a wide expansion planned for January, so it will likely do better at the box office. Meanwhile, the third film, Ocean Waves, is earning the best reviews and is a must see for fans of Studio Ghibli.
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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 |
---|---|---|---|---|---|---|---|
2016/12/23 | 18 | $17,957 | 14 | $1,283 | $17,957 | 1 | |
2016/12/30 | 19 | $38,643 | +115% | 14 | $2,760 | $88,896 | 2 |
2017/01/06 | 18 | $62,281 | +61% | 14 | $4,449 | $202,779 | 3 |
2017/01/13 | 24 | $38,616 | -38% | 16 | $2,414 | $275,067 | 4 |
2017/01/20 | 28 | $12,669 | -67% | 12 | $1,056 | $303,280 | 5 |
2017/01/27 | - | $9,061 | -28% | 12 | $755 | $321,954 | 6 |
2017/02/03 | - | $4,364 | -52% | 7 | $623 | $337,492 | 7 |
2017/02/10 | - | $2,890 | -34% | 4 | $723 | $344,566 | 8 |
2017/02/17 | - | $3,897 | +35% | 7 | $557 | $353,224 | 9 |
2017/02/24 | - | $1,320 | -66% | 3 | $440 | $356,976 | 10 |
2017/03/03 | - | $1,178 | -11% | 2 | $589 | $355,474 | 11 |
2017/03/10 | - | $1,078 | -8% | 6 | $180 | $355,986 | 12 |
Box Office Summary Per Territory
Territory | Release Date |
Opening Weekend |
Opening Weekend Screens |
Maximum Screens |
Theatrical Engagements |
Total Box Office |
Report Date |
---|---|---|---|---|---|---|---|
Argentina | 11/10/2017 | $26,430 | 0 | 0 | 0 | $90,355 | 1/1/2019 |
Australia | 12/23/2016 | $17,957 | 14 | 16 | 111 | $355,986 | 3/13/2017 |
Brazil | 4/21/2017 | $0 | 0 | 0 | 0 | $142,790 | 6/26/2018 |
Bulgaria | 1/6/2017 | $0 | 0 | 0 | 0 | $2,039 | 2/26/2019 |
Czech Republic | 12/30/2016 | $4,238 | 14 | 35 | 83 | $73,969 | 1/1/2019 |
France | 12/23/2016 | $494,271 | 0 | 0 | 0 | $2,752,212 | 8/17/2018 |
Italy | 12/23/2016 | $28,210 | 0 | 0 | 0 | $641,441 | 1/19/2017 |
Lithuania | 2/10/2017 | $4,819 | 12 | 12 | 31 | $16,196 | 3/21/2017 |
Netherlands | 2/9/2017 | $79,634 | 32 | 34 | 257 | $505,914 | 4/21/2017 |
New Zealand | 12/23/2016 | $6,214 | 13 | 13 | 87 | $110,517 | 1/15/2018 |
North America | 12/28/2016 | $69,335 | 4 | 70 | 543 | $2,141,423 | 10/30/2017 |
Poland | 12/30/2016 | $58,839 | 0 | 0 | 0 | $878,490 | 1/1/2019 |
Portugal | 6/30/2017 | $14,336 | 8 | 9 | 51 | $99,206 | 8/15/2018 |
Russia (CIS) | 2/14/2017 | $149,198 | 156 | 156 | 306 | $440,717 | 1/1/2019 |
Slovakia | 1/27/2017 | $4,624 | 18 | 18 | 25 | $16,452 | 2/17/2017 |
Slovenia | 12/16/2016 | $1,171 | 3 | 3 | 10 | $16,958 | 2/6/2017 |
South Korea | 12/2/2017 | $0 | 0 | 60 | 298 | $502,274 | 6/30/2021 |
Spain | 12/9/2016 | $130,689 | 70 | 78 | 335 | $793,412 | 3/17/2017 |
Turkey | 2/24/2017 | $0 | 0 | 0 | 0 | $23,932 | 1/1/2019 |
United Kingdom | 11/25/2016 | $211,753 | 61 | 65 | 126 | $626,479 | 10/2/2018 |
Rest of World | $496,774 | ||||||
Worldwide Total | $10,727,536 | 6/30/2021 |
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
Adam Driver | Paterson |
Golshifteh Farahani | Laura |
Supporting Cast
Barry Shabaka Henley | Doc |
Cliff Smith | Method Man |
Chasten Harmon | Marie |
William Jackson Harper | Everett |
Masatoshi Nagase | Japanese Poet |
Jared Gilman | Male Student |
Kara Hayward | Female Student |
Rizwan Manji | Donny |
For a description of the different acting role types we use to categorize acting perfomances, see our Glossary.
Production and Technical Credits
Jim Jarmusch | Director |
Jim Jarmusch | Screenwriter |
Joshua Astrachan | Producer |
Carter Logan | Producer |
Oliver Simon | Executive Producer |
Daniel Baur | Executive Producer |
Ron Bozman | Executive Producer |
Jean Labadie | Executive Producer |
Frederick Elmes | Director of Photography |
Mark Friedberg | Production Designer |
Affonso Goncalves | Editor |
Catherine George | Costume Designer |
Ellen Lewis | Casting Director |
Meghan Rafferty | Casting Director |