Brian Duffield
Best known as a Screenwriter based on credits in that role in 7 films, with $339,156,405 worldwide aggregate box office (rank #818) |
Best-known technical roles: The Divergent Series: Insurgent (Screenwriter), Cocaine Bear (Producer), Underwater (Screenwriter), Underwater (Story Creator), Jane Got a Gun (Screenwriter) |
Most productive collaborators: Keri Russell, Elizabeth Banks, Kristen Stewart, William Eubank, O'Shea Jackson, Jr. |
Career Summary
Movies | Domestic Box Office | International Box Office | Worldwide Box Office | ||
---|---|---|---|---|---|
In Technical Roles | Screenwriter | 7 | $150,054,657 | $189,101,748 | $339,156,405 |
Producer | 4 | $64,670,240 | $25,296,333 | $89,966,573 | |
Story Creator | 2 | $18,804,871 | $24,143,969 | $42,948,840 | |
Director | 2 | $0 | $0 | $0 | |
Executive Producer | 1 | $0 | $0 | $0 |
Latest Ranking on Selected Box Office Record Lists
Record | Rank | Amount |
---|---|---|
Top Grossing Producer at the Domestic Box Office (Rank 1,401-1,500) | 1,491 | $64,670,240 |
Top Grossing Screenwriter at the Domestic Box Office (Rank 801-900) | 850 | $150,054,657 |
Top Grossing Story Creator at the Domestic Box Office (Rank 1,801-1,900) | 1,856 | $18,804,871 |
Top Grossing Producer at the International Box Office (Rank 2,301-2,400) | 2,398 | $25,296,333 |
Top Grossing Screenwriter at the International Box Office (Rank 801-900) | 807 | $189,101,748 |
Top Grossing Story Creator at the International Box Office (Rank 1,401-1,500) | 1,494 | $24,143,969 |
Top Grossing Producer at the Worldwide Box Office (Rank 1,901-2,000) | 1,909 | $89,966,573 |
Top Grossing Screenwriter at the Worldwide Box Office (Rank 801-900) | 818 | $339,156,405 |
Top Grossing Story Creator at the Worldwide Box Office (Rank 1,701-1,800) | 1,702 | $42,948,840 |
See the Acting Credits tab for all Acting Box Office Records and the Technical Credits tab for all Technical Box Office Records.
2020 Preview: January
January 1st, 2020
It’s the year 2020, the year where we find out how many times you can say, “Well, hindsight is 20/20.” before you get punched. On the positive side, while December wasn’t a great month, it was good enough to help 2019 end on a positive note, a positive note that should continue into January. There are no real potential monster hits coming out this month, but there are three films that have a real shot at $100 million domestically. These are, in alphabetical order, 1917, which will rely on Awards Season to get to the century mark. Bad Boys for Life will have a much, much easier time getting to $100 million, assuming people still care about the franchise 17 years later. Finally, Dolittle is looking like a disaster with a really troubled production; however, a $100 million run isn’t out of the question and if it can get there, it will at least save face. As for last January, Glass was the biggest hit of the month in terms of raw dollars, but The Upside was more impressive, as it is one the biggest hits in STX Entertainment’s history. We need two of the three potential $100 million hits to reach that mark to keep pace with last year, but we also have one more weekend to get there.
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2016 Preview: January
January 1st, 2016
2016 will begin the same way 2015 ended, with Star Wars: The Force Awakens on top. In fact, three of the five films that have the best shot at box office success in January are The Force Awakens, The Hateful Eight, and The Revenant, all of which opened in December. There are two true January releases that could also do really well, for this time of year: Ride Along 2 and Kung Fu Panda 3. The rest of the releases are just hoping to become midlevel hits. Last January, American Sniper dominated earning more than $300 million. Its success could prevent 2016 from being ahead in the year-over-year comparison by the end of the month, but this year does have better depth.
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2015 Preview: March
March 1st, 2015
February was strong thanks to The SpongeBob Movie: Sponge Out of Water and Fifty Shades of Grey, both of which beat expectations. This March could actually be even better, as there are three or four films that have a decent shot at earning $100 million or more. The top film will likely be Cinderella, which has a real shot at $200 million. Insurgent will almost assuredly get beyond the $100 million mark, while Get Hard, Home, and perhaps Chappie will also get to the century mark. Last March, there were four $100 million hits, led by Divergent, which pulled in $150 million. While this March should be better than February, I'm not sure it will be better than last March. I don't think March 2015 will be much worse than last year, but I think its percentage lead will be chipped away at by the end of the month.
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All Acting Credits
All Technical Credits
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Release Date | Title | Role | Domestic Box Office | International Box Office | Worldwide Box Office |
---|---|---|---|---|---|
Sep 22, 2023 | No One Will Save You | Director Screenwriter Producer |
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Feb 24, 2023 | Cocaine Bear | Producer | $64,670,240 | $25,296,333 | $89,966,573 |
Oct 16, 2020 | Love and Monsters | Screenwriter | $1,070,714 | $60,969 | $1,131,683 |
Oct 2, 2020 | Spontaneous | Director Screenwriter Producer |
|||
Jan 10, 2020 | Underwater | Screenwriter Story by |
$17,291,078 | $21,886,417 | $39,177,495 |
Oct 13, 2017 | The Babysitter | Screenwriter Executive Producer |
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Jan 29, 2016 | Jane Got a Gun | Screenwriter Story by |
$1,513,793 | $2,257,552 | $3,771,345 |
Mar 20, 2015 | The Divergent Series: Insur… | Screenwriter | $130,179,072 | $164,896,810 | $295,075,882 |
Averages | $42,944,979 | $42,879,616 | $85,824,596 | ||
Totals | 8 | $214,724,897 | $214,398,081 | $429,122,978 |
Director Credits
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Release Date | Title | Opening Weekend | Maximum Theaters | Domestic Box Office | Worldwide Box Office | Domestic Share |
---|---|---|---|---|---|---|
Sep 22, 2023 | No One Will Save You | |||||
Oct 2, 2020 | Spontaneous | |||||
Averages | n/a | n/a | n/a | n/a | 0.0% | |
Totals | 2 | n/a | n/a |
Producer Credits
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Release Date | Title | Opening Weekend | Maximum Theaters | Domestic Box Office | Worldwide Box Office | Domestic Share |
---|---|---|---|---|---|---|
Sep 22, 2023 | No One Will Save You | |||||
Feb 24, 2023 | Cocaine Bear | $23,260,790 | 3,571 | $64,670,240 | $89,966,573 | 71.9% |
Oct 2, 2020 | Spontaneous | |||||
Averages | $23,260,790 | 3,571 | $64,670,240 | $89,966,573 | 71.9% | |
Totals | 3 | $64,670,240 | $89,966,573 |
Writer Credits
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Release Date | Title | Opening Weekend | Maximum Theaters | Domestic Box Office | Worldwide Box Office | Domestic Share |
---|---|---|---|---|---|---|
Sep 22, 2023 | No One Will Save You | |||||
Oct 16, 2020 | Love and Monsters | $270,302 | 387 | $1,070,714 | $1,131,683 | 94.6% |
Oct 2, 2020 | Spontaneous | |||||
Jan 10, 2020 | Underwater | $7,008,297 | 2,791 | $17,291,078 | $39,177,495 | 44.1% |
Oct 13, 2017 | The Babysitter | |||||
Jan 29, 2016 | Jane Got a Gun | $835,572 | 1,210 | $1,513,793 | $3,771,345 | 40.1% |
Mar 20, 2015 | The Divergent Series: … | $52,263,680 | 3,875 | $130,179,072 | $295,075,882 | 44.1% |
Averages | $15,094,463 | 2,066 | $37,513,664 | $84,789,101 | 55.8% | |
Totals | 7 | $150,054,657 | $339,156,405 |
Latest Ranking on All Technical Box Office Record Lists
Record | Rank | Amount |
---|---|---|
Top Grossing Producer at the Domestic Box Office (Rank 1,401-1,500) | 1,491 | $64,670,240 |
Top Grossing Screenwriter at the Domestic Box Office (Rank 801-900) | 850 | $150,054,657 |
Top Grossing Story Creator at the Domestic Box Office (Rank 1,801-1,900) | 1,856 | $18,804,871 |
Top Grossing Producer at the International Box Office (Rank 2,301-2,400) | 2,398 | $25,296,333 |
Top Grossing Screenwriter at the International Box Office (Rank 801-900) | 807 | $189,101,748 |
Top Grossing Story Creator at the International Box Office (Rank 1,401-1,500) | 1,494 | $24,143,969 |
Top Grossing Producer at the Worldwide Box Office (Rank 1,901-2,000) | 1,909 | $89,966,573 |
Top Grossing Screenwriter at the Worldwide Box Office (Rank 801-900) | 818 | $339,156,405 |
Top Grossing Story Creator at the Worldwide Box Office (Rank 1,701-1,800) | 1,702 | $42,948,840 |