Near the beginning of The Abyss (1989), he began a tradition of voicing a pilot, as we can hear him ask for clearence to land a helicopter on the Benthic Explorer ship as he drops off the Navy SEAL team.
In Terminator 2 (1991) he went back to voicing villains, providing the screams of the T-1000 as it interacted with molten steel towards the end of the film.
With True Lies (1994), he was back to voicing pilots, as one of the Marine Harrier pilots who fires upon the terrorist convoy on the Overseas Highway bridge.
With Titanic (1997), his voice cameo is easily missed as a faint voice on deck asking a fellow passenger about ‘talk of an iceberg’. (Unusually, he also makes couple of visual cameos in the background of two scenes)
Avatar (2009) saw him return to pilot mode as he can be heard on the radio as Quaritch’s forces begin their attack on Hometree.
I’m guessing he finds voice cameos easier than making a distracting visual appearence and that it’s easier to dub in some dialogue during post-production.
Inflation-adjustment is mostly done by multiplying estimated admissions by the latest average ticket price. Where admissions are unavailable, adjustment is based on the average ticket price for when each movie was released (taking in to account re-releases where applicable).
Essentially what they are saying is that a simple bit of guesswork maths comes up with the following equation:
(estimated admissions x latest average ticket prices)
There is a certain logic to that, but what about the era before home entertainment really exploded in the 1980s?
Films such as Gone with the Wind were re-released at cinemas because there was no home entertainment ‘afterlife’.
Until the advent of television in the 1950s, VHS in the 1980s and DVD in 1990s films like this could only be seen in cinemas.
Box Office Mojo further describe how they account for this in their ‘adjusted for inflation’ box office chart:
* Indicates documented multiple theatrical releases. Most of the pre-1980 movies listed on this chart had multiple undocumentented releases over the years. The year shown is the first year of release. Most pre-1980 pictures achieved their totals through multiple releases, especially Disney animated features which made much of their totals in the past few decades belying their original release dates in terms of adjustment. For example, Snow White has made $118,328,683 of its unadjusted $184,925,486 total since 1983.
So Gone with the Wind and classic Disney movies hugely benefitted from re-releases over the years, simply because there was no home entertainment market.
Dig further and it gets even more complicated.
According to Box Office Mojo weekend box office data was primitive at best, even well in to the 1990s:
many movies from the 80s to mid-90s may not have as extensive weekend box office data and many movies prior to 1980 may not have weekend data at all, so the full timeframe for when that movie made its money may not be available. In such cases (and where actual number of tickets sold is not available), we can only adjust based on its total earnings and the average ticket price for the year it was released.
Still, this should be a good general guideline to gauge a movie’s popularity and compare it to other movies released in different years or decades. Since inflation adjusted sales figures are therefore not widely publicized by the film industry, inflation adjusted sales rankings and ticket sales comparisons across the last 100 years are difficult to compile.
So although we can get a rough idea of the popularity of a particular film, is it really so sensible to claim Gone with the Wind is a bigger film than Avatar based on a series of calculations?
If you go down the mathematical adjustment route, more things have to be factored in and that leads to even more questions.
What do changing ticket prices really say?
Whilst it is true that the cost of seeing Gone with the Wind in the 1930s was less than Avatar in 2009, there are other issues that come in to play.
The most obvious is the fundamental differences of two eras: films were released in a gradual way up until the 1970s and there were no computers or any of the data tracking tools studios now take for granted.
There is also the slippery nature of inflation itself: do the changes in ticket prices over several decades vary?
Inflation is used as a catch all term, but the rate of inflation may be different in 1950, 1970 and 2000 (is your head exploding yet?).
So, the equation which links ticket prices and inflation are on shifting sands.
Even if you compared the number of tickets sold, rather than the amount they sold for, you’ve got the additional problem of older machines and the retention of data from eras that weren’t using computers or keeping any detailed records.
(I would assume that grosses for films in the early 20th century were either reported in trade journals, newspapers or studio records)
What about the last decade? How do we measure the impact of 3D and IMAX prices, as you might argue that the grosses for Avatar and The Dark Knight were ‘artificially inflated’ by these newer formats which have in-built higher prices.
But what happens when you don’t adjust for inflation at all?
It would seem that over the last decade major movie studios have pushed this line, with wider releases on more screens so that they can use the term record-breaking as part of their marketing strategy.
But what this list really reveals is that modern marketing and distribution systems are more advanced than ever before.
If you want a different perspective, consider the following films: The Birth of a Nation (1915), Gold Diggers of Broadway (1929), The Bachelor and the Bobby-Soxer (1947), Rear Window (1954), 2001: A Space Odyssey (1968), The Godfather (1972) and Blazing Saddles (1974).
What do they have in common?
The answer is that they were the most successful films of their respective years, which Wikipedia have usefully listed under another list of the highest-grossing films by year:
After Jaws (1975) and Star Wars (1977) the list is mostly filled by action or fantasy tent-pole releases, with the 2000s being dominated by pirates, wizards and hobbits.
Normalizing this to the reference year normalizes all social, economical, and political factors such as the availability of expendable cash, number of theater screens, relative cost of tickets, competition from television, the rapid releases of movies on DVDs, the improvement of home theater equipment, and film bootlegging.
For example, in 1946 the per capita movie ticket purchasing rate for the average person was 34 tickets a year. In 2004, this average rate had dropped to only five tickets per person per year, in response mainly to competition from television.
There is a lot to be said for this approach as captures what films meant in a particular social and historical context.
I think it also brings us back to the central question of whether or not we should even attempt to adjust for inflation.
The modern day film industry is structured around newly released films, so they have a vested interest in not doing it.
After all 20th Century Fox don’t exactly want to promote Avatar on billboards as:
“The biggest film of all time – apart from Gone with the Wind!”
At the same time, there is some value in trying to account for different eras and the impact particular films had.
Theatrical box office can sometimes be a little misleading.
These are exceptions but show what impact word of mouth can have in an era of home entertainment.
Perhaps a more useful way of measuring the box office over time is a combination of considering what films made the most money in the current era, along with checking what was successful in a particular year.
It isn’t perfect but shows the complications that can lie under what seems to be simple facts.
James Cameron’s sci-fi blockbuster finally gets the special edition treatment with the Avatar: Collector’s Extended Edition (20th Century Fox Home Entertainment) after a barebones release back in the Spring.
In case you didn’t catch what is now the most financially successful film in history at cinemas, the story involves an ex-Marine (Sam Worthington) who to an exotic alien planet where is caught between a battle between the natives and the human colonists.
The image quality of the original Blu-ray transfer was stunning. Even without the 3D aspect, which helped bump up ticket sales in cinemas, the quality of the visuals is exemplary with the live action and visual effects shots integrating wonderfully.
With this extended edition the major selling point is that this package contains three different cuts: the original theatrical release, the special edition re-release, and the exclusive extended cut not shown in theaters.
Added to this are around eight hours of bonus features that exhaustively detail the production of the film.
The three discs break down as follows:
Disc 1: Three Movie Versions
Original Theatrical Edition (includes family audio track with objectionable language removed)
Special Edition Re-Release (includes family audio track with objectionable language removed)
Collector’s Extended Cut with 16 additional minutes, including alternate opening on earth
Disc 2: Filmmaker’s Journey
Over 45 minutes of never-before-seen deleted scenes
Screen tests, on-set footage, and visual-effects reels
Capturing Avatar: Feature-length documentary covering the 16-year filmmakers’ journey, including interviews with James Cameron, Jon Landau, cast and crew
A Message from Pandora: James Cameron’s visit to the Amazon rainforest
The 2006 art reel: Original pitch of the Avatar vision
Brother termite test: Original motion capture test
The ILM prototype: Visual effects reel
Screen tests: Sam Worthington, Zoë Saldana
Zoë’s life cast: Makeup session footage
On-set footage as live-action filming begins
Crew film: The Volume
Disc 3: Pandora’s Box
Interactive scene deconstruction: Explore the stages of production of 17 different scenes through three viewing modes: capture level, template level, and final level with picture-in-picture reference
Production featurettes: Sculpting Avatar, Creating the Banshee, Creating the Thanator, The AMP Suit, Flying Vehicles, Na’vi Costumes, Speaking Na’vi, Pandora Flora, Stunts, Performance Capture, Virtual Camera, The 3D Fusion Camera, The Simul-Cam, Editing Avatar, Scoring Avatar, Sound Design, The Haka: The Spirit of New Zealand
Avatar original script
Avatar screenplay by James Cameron
Pandorapedia: Comprehensive guide to Pandora
Lyrics from five songs by James Cameron
The art of Avatar: Over 1,850 images in 16 themed galleries (The World of Pandora, The Creatures, Pandora Flora, Pandora Bioluminescence, The Na’vi, The Avatars, Maquettes, Na’vi Weapons, Na’vi Props, Na’vi Musical Instruments, RDA Designs, Flying Vehicles, AMP Suit, Human Weapons, Land Vehicles, One-Sheet Concepts)
BD-Live extras (requires BD-Live-enabled player and Internet connection–may be available a limited-time only): Crew Short: The Night Before Avatar; additional screen tests, including Stephen Lang, Giovanni Ribisi, Joel David Moore, CCH Pounder, and Laz Alonso; speaking Na’vi rehearsal footage; Weta Workshop: walk-and-talk presentation
Avatar Collector’s Extended Edition is out today from 20th Century Fox Home Entertainment