Chapter 15: Chapter 15: Released
April, August, and October were generally slow months in the U.S., and many low-budget independent films were released during these times.
With the U.S. producing nearly 1,000 movies annually, more than half were able to get theatrical releases.
The remainder were often poorly made films with budgets under $1 million and went straight to the home video market.
The advent of DVDs transformed the film industry, allowing many independent production companies to thrive solely in the home video market.
On the same day, 20th Century Fox released the thriller High Crimes, starring Ashley Judd and Morgan Freeman, a mid-budget production with a $42 million budget.
In comparison, My Big Fat Greek Wedding opened in just 108 theaters, while High Crimes opened in 2,700 theaters!
On its opening weekend, My Big Fat Greek Wedding made only $600,000, whereas High Crimes raked in $14 million!
IFC, through market research, had a strong outlook on the word-of-mouth for My Big Fat Greek Wedding, so they began to increase their marketing expenditures.
The following week, the number of theaters showing the film increased to 247, with a weekly box office of $2.14 million.
Simultaneously, Universal Pictures' sci-fi action film The Scorpion King was also released.
By the end of the month, My Big Fat Greek Wedding was in 440 theaters, and its North American box office had reached $12 million.
For a low-budget romantic comedy made for just $5 million, this momentum led IFC Films to further increase its promotional investments.
However, starting in May, the competitive summer season began, and lacking resources, IFC focused on leveraging the film's growing reputation to compete in smaller theaters.
"Small potatoes, no wonder they can only release low-budget indie films," Charles was fuming after a call with the distributors from IFC, ready to slam down the phone.
"It's not bad at all. Right now, My Big Fat Greek Wedding is showing in almost 500 theaters, making around $4 million weekly!" Evelyn said with a smile.
"Charles, you did it!"
Of course, Charles knew they had succeeded. North American box office earnings had already surpassed $15 million, and the per-theater average hadn't decreased.
The staying power of My Big Fat Greek Wedding was no secret; it was just that IFC's distribution capabilities were inadequate. Any independent label under a major studio would have easily secured over 1,000 theaters by now.
In the Napa Valley of Central California, at the Coppola Estate vineyard.
Sofia Coppola was reading newspapers and entertainment magazines like The New York Times, The Washington Post, Empire, and The Hollywood Reporter.
"My Big Fat Greek Wedding is a real dark horse," Sofia muttered to herself, "Charles said he would solve the funding problem, and it looks like he did!"
"Sofia, what's up?" a graying Francis Coppola asked as he entered the room and noticed his daughter in a daze.
"Right, didn't you already write a script and plan to shoot it? I read it; it's pretty good. The budget isn't too high either. Do you need Dad's help?"
Sofia turned her head, looked at her father, and then shook her head with a smile. "No need. I think the problem is already solved!"
Shaking the newspaper in her hand with a smile, she said, "Charles Carpe, the young producer of My Big Fat Greek Wedding, is very optimistic about my film. He told me to wait until his film was released, and he really did succeed!"
"Oh?" Francis Coppola was taken aback, then took the newspaper to read.
"Isn't this the film that Tom Hanks developed? Did Carpe Productions also participate? Looks like it will have a long theatrical run and strong staying power, but the distribution company's capability is lacking."
Francis Coppola had left Hollywood years ago, but he still had an eye for talent.
Indeed, many outsiders thought that the main credit for My Big Fat Greek Wedding belonged to Tom Hanks and his wife since they were the investors and producers, and they found the distributor, too.
As for Charles Carpe and Carpe Productions, they were seen as the supporting characters next to the leading stars.
Sofia Coppola laughed, "Charles is a good young man. He bought that script last year with money borrowed from his mother. He was only 19 at the time.
Later, the Hanks couple also liked the script, but Charles insisted on collaborating with Carpe Productions as a participant, and they signed a profit-sharing agreement that everyone thought was a joke.
No one expected the kid to actually succeed; the movie's box office prospects are promising!
Alright, Dad, I think I should give Evelyn a call and congratulate Charles!" Sofia said as she stood up.
...
Los Angeles, West Hollywood, in the office of Carpe Productions.
Len Wiseman was discussing the progress of Underworld preparations with Charles.
"Gothic architecture - we'll probably need to go to Eastern European countries. Staff have already gone to Hungary and other nations to discuss it, and Kate Beckinsale is undergoing a series of action training," Len Wiseman, who had been preparing the crew recently, said.
"Locations, actors, and other preparations will probably be completed by June, and I think we can start shooting in early July!"
"Start shooting in July," Charles pondered as he set down the project plan. "It'll take about two or three months to shoot, that shouldn't be a problem."
"By the way, I heard that My Big Fat Greek Wedding is doing well, congratulations!"
Charles smiled, "Don't worry, after Underworld releases next year, you'll be hearing a lot of congratulations too."
In May, Spider-Man and Star Wars: Episode II - Attack of the Clones had both been released, with more blockbusters expected in June and July.
Charles didn't know how much box office My Big Fat Greek Wedding could claim in the summer, even though he knew it would have a long run. But a prolonged release wasn't exactly pleasing to Charles.
"Charles, Sofia called. She wants to meet up; her script is finished!" Evelyn notified him over the phone.
"Great!"
Looking around the empty office, Charles grew increasingly dissatisfied. Carpe Productions needed to hire staff to get on track!
Sofia Coppola was coming for funding, and Carpe Productions now indeed had some money. Screen Gems had paid $2 million for the pre-production work of Underworld. Shouldn't Village Roadshow and Constantin Film also chip in? After all, it would take less than two months to shoot the movie.
*****
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