All Time Showdown at the Box Office

This past weekend, Star Wars: The Force Awakens passed $900 million domestically. Box Office Mojo does a showdown of record breaking blockbusters, but let’s take a look at the showdown when we adjust for general inflation.

Here’s what Box Office Mojo shows, which is interesting in and of itself:

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Source: Box Office Mojo,

But what if we do a basic adjustment for inflation? Does Star Wars still come out on top?

Unadjusted Gross Year Adjusted Gross
The Avengers $623,357,910 2012 $643,305,363
Jurassic World $652,270,625 2015 $652,270,625
Avatar $749,766,139 2009 $825,492,519
Star Wars Force Awakens $907,431,461 2015 $907,431,461
Titanic $600,788,188 1997 $838,099,522


Actually it does still, handedly. But suddenly Titanic actually looks far more successful in comparison, only losing by $70 million (a little less than 10%). Avatar is right up there as well.

Essential Films from Black Filmmakers: Edward Ricourt on LOVE JONES

Today, screenwriter Edward Ricourt (NOW YOU SEE ME, JESSICA JONES) shares his thoughts on why Theodore Witcher’s 1997 film LOVE JONES is an essential film.

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When I was still living in New York, eating 99 cent ramen noodles for dinner, I would go to open mic nights at the Nuyorican Poets Cafe to try out my poetry, telling “my story” and getting paid in snaps from the audience. When I saw LOVE JONES, I saw a man, a black man that I recognized. Not a thug, janitor, slave, or drug dealer, but a young man (played by Larenz Tate) who was a poet, like myself, who falls in love with a girl. Their relationship is complicated, messy, and the ending gave us a bittersweet ending that felt authentic. I saw myself in the movie. Not a hero, or swashbuckling prince. Just a guy who is figuring out his post college life. LOVE JONES will forever be on my personal favorites list.

LOVE JONES is unfortunately not available for streaming, but it can be rented on DVD from Netflix. 

Our next entry, from LOVE & BASKETBALL and BEYOND THE LIGHTS writer-director Gina Prince-Bythewood, will debut on Friday! And please tweet at us under #essentialblackfilms — we might share your thoughts on the blog!

Essential Films from Black Filmmakers

Today, we’re excited to launch a new series on The Black List Blog in celebration of potentially overlooked films from directors of all stripes. Each month, we’ll choose a new theme, and this being the Black List, it’s only appropriate that we begin with black filmmakers during black history month.

Throughout the month, we’ll be shining a spotlight on some essential films about the black experience, with thoughts from some contemporary black filmmakers about why they love each film. To kick the series off, Shadow and Act’s Jai Tiggett has shared some thoughts about the realities of being a black filmmaker.

As great as it would be for everyone to take an active interest in black films, it just doesn’t happen all the time. It happens during Black History Month, and during Oscar season, and when folks get called out in the news for a lack of diversity. Suddenly we all rush to remember the important black films we’ve seen in the past year so that we can seem super informed when we post about them on social media, or when we try to stick it to some guy in the comments section of an article. It can be amusing, or petty, but it’s not always fruitful. So it’s great of The Black List to use this perfect storm of racial tension for something other than internet trolling – to draw attention to a group of movies that more people should see, what they’re calling essential black films. 


Spike Lee, photo by

Usually the term “black film” refers generally to movies with black main characters. But here we have the added distinction of films that were made by black directors, because these films are rarely recognized, and because agency and authenticity factor heavily into black storytelling.   

Focusing on black filmmakers also gives an interesting picture of what has happened with filmmaking over time. If we consider only films that were actually made by black folks, we see a steep drop off before 1990 and another drop before the 1970s because of a lack of access. So movies that many consider “essential” – films that have significance within black culture and film history, like CARMEN JONES or IMITATION OF LIFE or BLACK ORPHEUS – won’t be discussed. We also won’t look fully at talent like Sidney Poitier and Lena Horne, who worked with a lot of white directors but who are essential to know. Most of what we’ll look at can be considered modern film, from a period when black filmmakers had increasing access to the means of production and distribution, and increasing involvement in the Hollywood system.

In the late 1970s and early 1980s, a fiercely independent group of black filmmakers emerged from UCLA’s film school called the LA Rebellion, which included Charles Burnett, Julie Dash, Haile Gerima, Alile Sharon Larkin, Jamaa Fanaka and others. On the east coast, a similar wave of forward-thinking, socially conscious art films emerged from filmmakers like Charles Lane, Kathleen Collins and Spike Lee. Their work was influential, but distribution was a challenge. A pioneering few black indies like Lee managed to get their work into theaters, but too few of these films are easily accessible today outside of special screenings and TV broadcasts.


Kasi Lemmons, photo by Filmmaker Magazine.

By the 1990s it seemed that Hollywood studios had embraced black films in some form. Urban dramas were now seen as capable of earning both money and critical acclaim. Mostly young, mostly male directors like John Singleton, Mario Van Peebles, F. Gary Gray and the Hughes Brothers joined Spike Lee in the limelight.

By the late 1990s to early 2000s we entered what seemed to be a “golden era” of black films, with a variety of titles available in different genres. Romance, thrillers and mainstream drama came from Theodore Witcher, Gina and Reggie Bythewood, Kasi Lemmons, Antoine Fuqua and more. Between 1990 and 2005, the top 20 film studios released over 240 black films.*

Then the economic recession happened. Then Tyler Perry happened. And the film industry changed for black movies again.

All of this is to say that the story of black film has always been one of resilience, of gains and losses, of ebbs and flows. Racial bias has always been a factor for black filmmakers at every stage of getting their movies made. But superior, dedicated filmmakers have always found a way to create and show amazing work. As director Haile Gerima put it bluntly in an interview, “This system knows how to cherry pick black people. It’s like affirmative action – once a year, one is recognized. But what has to occur is self-emergence so if they ignore you, you don’t have to disappear.”

jai tiggett is a screenwriter, producer, and the associate editor of Shadow & Act on Indiewire. Find her at 

*data sources: Shadow & Act, Box Office Mojo, The Numbers.

Celebrating diverse voices is a priority for The Black List, both because of the very real discrimination they face and because we believe increased diversity results in better content and better economics for the industry as a whole. With that in mind, we’d also like your input for this project. Here and on Twitter, we’d love for you to send us your thoughts on a film that illustrates a vital part of the black experience too by using #essentialblackfilms. We share many of these thoughts on the blog as well.

This just the beginning though. Keep an eye out for what’s coming in future months.

Beyond Words: Celebrating 2015’s WGA-Nominated Screenwriters

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Photo credit: Variety

As awards season continues chugging along, the WGA-W, the Writer’s Guild Foundation, and Variety gathered together to celebrate 2015’s WGA-Award nominated screenwriters.

Andrea Berloff and Jonathan Herman (STRAIGHT OUTTA COMPTON), Aaron Sorkin (JOBS), John McNamara (TRUMBO), Charles Randolph and Adam McKay (THE BIG SHORT), Matt Charman (BRIDGE OF SPIES), Josh Singer and Tom McCarthy (SPOTLIGHT) and Drew Goddard (THE MARTIAN) took the stage at the WGA Theater to discuss their creative processes, what scenes they had to cut from their scripts, and how to approach script structure when dealing with real-life characters.

Even with original screenplay nominees Taylor Sheridan (SICARIO) and Amy Schumer (TRAINWRECK) unable to attend, the stage was packed as John August (this year’s recipient of the Valentine Davies Award) joined the 11 writers on stage to moderate. August told the audience we’d being seeing a lot of lightning round questions to keep the conversation moving.

August first asked the writers: How long was the production process of the film from initial conception to theatrical release?

THE MARTIAN: Three years

SPOTLIGHT: Four years

BRIDGE OF SPIES: Three years (11 months from pitch to production, an incredibly fast turnaround time)

CAROL: “Eighteen effing years,” as Nagy put it.

THE BIG SHORT: Five years

TRUMBO: Eight years

JOBS: Three years


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