NY Times article abt SAM and Sundance is only domestic gross

There was a recent article in the New York Times "Having A Sundance Hit May Not Make You Rich Anymore," illustrated with an article about SAM. It mentions a gross of $4.2 million but nothing about the overseas sales, iTunes and Amazon, where it was most successful comedy several weeks in a row.

From user radfreed:

Some financial info on SAM. Seems like they are pretty happy with the outcome overall.

Swiss Army Man

THE FILM: Stranded on a deserted island, a depressed young man (Paul Dano) befriends a flatulent dead body he calls “Manny” (Daniel Radcliffe) and employs him in various ways to survive. Made by writer-directors Dan Kwan and Daniel Scheinert (aka, The Daniels), the film is widely known as the “farting corpse” movie.

FINANCING: After working on the script for a year, producer Lawrence Inglee finds a partner in Miranda Bailey’s Cold Iron Pictures. Once the Daniels’s video for “Turn Down for What” goes viral, the producers receive a number of inquiries. Ultimately “looking for freedom,” according to Inglee, they go with backing from producer Lauren Mann as well as Gideon Tadmor, a real estate mogul turned producer. Total budget: $3 million. “This is a whole lot of movie for that amount of money,” says Inglee. “So this was a good example of how to fund a movie: three equal partners, at a reasonable level.”

DEALS: “With a film like this, we were trying to quiet the anticipation, so the film could be experienced without hype,” says Inglee of the team’s pre-Sundance strategy. “We completely failed.” At the film’s premiere, seemingly every acquisition executive squeezes into the packed house. The movie starts some 40 minutes late, and then, before it’s even over, the dismissive tweets start pouring in. The New York Times’ Brooks Barnes offers this social media missive: “Never a good sign when the chairmen of two studios are among the glum walkouts of a supposedly hot film half way thru.” But then some good reviews and passionate fans began to counter the negative buzz. Business on the film may have been delayed, but hot-shot distrib A24 eventually steps up and closes a deal for domestic rights over a week later on January 29. In April, the company buys worldwide rights. “We came out great,” says Inglee.

DISTRIBUTION: In late June, A24 opens the film in three theaters, generating a mighty $35,151 per-theater average, and then supersizes the release the following weekend, taking it out to 636 theaters. Over the July 4 weekend, the film earns over $1.4 million. “It might have been difficult to get what the movie is about,” says Graham Retzik, who is in charge of creative marketing at A24, “but it’s surrounded by original and audacious elements that audiences are hungry for, particularly in the spring-summertime frame where there’s a glut of unoriginal ideas.” According to Retzik, star Daniel Radcliffe did a fair amount of publicity, but what ultimately helped the film stand out were its unfamiliar elements. The company created an innovative website, where viewers could text with and connect with “Manny,” and leaned heavily on the film’s original music. “When we put the first teaser trailer online,” he says, “it became the highest viewed piece of material in the company’s history by a very large margin.”

GROSSES: After 14 weeks, total theatrical grosses surpass $4.2 million. Overseas, the film performs well, grossing $5.5 million to date, with strong releases in Russia, the U.K. and other European territories. On digital release, the film remains on iTunes’ list of top movie downloads for weeks.

UPSHOT: The Daniels establish themselves as innovative auteurs and A24 reaffirms its ability to tackle hard-to-market titles and find a young audience for them in theaters.

http://filmmakermagazine.com/101064-hits-misses-the-theatrical-performance-of-the-sundance-class-of-16/#.WH_vxcs8KhA