|
1. Global Box Office Gross
Domestic ($240.0M) + International ($260.0M)
|
$500,000,000 |
|
2. Less: Theater Exhibitor Cut
Exhibitors keep ~50% Domestic & ~60% International gross
|
-$276,000,000 |
|
3. Net Theatrical Rentals (Studio Receipts)
Cash collected by distributor after theater splits
|
$224,000,000 |
|
4. Less: Distributor Commission & P&A Recoupment
20% Dist Fee ($44.8M) + Recouped P&A ($45.0M)
|
-$89,800,000 |
|
5. Plus: Ancillary & Streaming Multiplier
+25% net expansion from PVOD / licensing
|
+$33,550,000 |
|
6. Less: Talent Back-End Equity (12.5%)
Curry Barker & key creatives adjusted pool participation
|
-$20,968,750 |
|
7. Net Investor Cash Return
Net payout after full $750,000 initial equity recoupment
|
$145,218,750 |
| Film Title | Year | Budget | Worldwide Gross | Gross Multiplier | Est. Investor Net | Action |
|---|
The TIFF Premiere Effect & Micro-Budget Leverage
When Curry Barker’s OBSESSION premiered at the Toronto International Film Festival on a $750,000 budget, it capitalized on word-of-mouth momentum to secure major theatrical distribution with favorable back-end terms. Micro-budget genre films operate on extreme financial asymmetry: low production overhead drastically shortens the break-even horizon, meaning nearly every dollar past P&A recoupment flows straight into equity net return.
Understanding Theatrical Exhibition Splits
Box office gross is not cash in the filmmaker's pocket. Domestic theaters typically keep 45%–55% of ticket sales, while foreign exhibitors retain 55%–65%. Distributors then recoup marketing expenses (P&A) and deduct 15%–25% distribution fees before triggering talent bonuses and investor profit waterfalls.