| Best known as a Director based on credits in that role in 4 films, with $1,048,252,319 worldwide aggregate box office (rank #192) |
| Best-known technical roles: Wonder Woman (Director), Wonder Woman 1984 (Director), Wonder Woman 1984 (Screenwriter), Wonder Woman 1984 (Story Creator), Wonder Woman 1984 (Producer) |
| Most productive collaborators: Gal Gadot, Chris Pine, Jason Fuchs, Robin Wright, Zack Snyder |
| Born: July 24, 1971 (53 years old) |
| Movies | Domestic Box Office | International Box Office | Worldwide Box Office | ||
|---|---|---|---|---|---|
| In Technical Roles | Director | 4 | $493,833,654 | $554,418,665 | $1,048,252,319 |
| Producer | 2 | $46,932,036 | $119,559,196 | $166,491,232 | |
| Screenwriter | 1 | $46,801,036 | $119,559,196 | $166,360,232 | |
| Story Creator | 1 | $46,801,036 | $119,559,196 | $166,360,232 |
See the Acting Credits tab for all Acting Box Office Records and the Technical Credits tab for all Technical Box Office Records.
December 1st, 2020
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The worst year for the movie theatrical industry in a century will end with a series of releases that might define the business for the next decade. Only three of the major studios are daring to release films in theaters during what is shaping up to be the height of the COVID-19 pandemic. Sony Pictures is going the traditional route with Monster Hunter getting an exclusive theatrical release on Christmas Day. Universal’s deals with AMC and Cinemark to allow shortened theatrical windows in return for sharing PVOD revenue have prompted it and its specialty division Focus Features to release four films this holiday season. But all eyes (or many of them, anyway) will be on Warner Bros.’ release of Wonder Woman 1984 simultaneously in theaters and on HBO Max.
When the studio announced this release strategy back on November 18 there was speculation that, if it worked out well, they might do the same thing with some of their other upcoming films. Today they threw caution to the wind and announced that all of the studio’s 2021 films will be released in theaters and on HBO Max at the same time (in territories where HBO Max is available). While we’re still digesting the news, here are three quick takes on the rationale for Warner Bros. to make this bold leap.
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October 8th, 2017
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Wonder Woman is the fourth film in the DCEU and apparently it is one of the last. (Warner Bros. recently came out and said they would be focusing on individual stories and downplaying the overall continuity for a while. Smart move.) Wonder Woman broke a number of records during its box office run, including biggest box office hit for a female director, biggest super hero original movie, etc. and in the end, it was the biggest domestic hit of the summer. Did it deserve this success? Or was it only good compared to the previous installments in the DCEU?
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June 1st, 2017
May was a really soft month with only one unqualified hit, Guardians of the Galaxy, Vol. 2, which is climbing towards $375 million domestically. The second biggest hit of the month will be Pirates of the Caribbean: Dead Men Tell No Tales and I would be surprised if it tops $150 million by any serious margin. June looks a lot more profitable. There are five weeks and every week there is at least one film with a great shot at $100 million or more. In fact, there are four films with at least a decent shot at $200 million and we could double the number of $300 million hits released so far this year. Wonder Woman is widely expected to start the month with an explosive debut and pulling in more than $100 million during its opening weekend is more and more likely. That said, Despicable Me 3 will probably end up being the biggest hit overall with over $300 million. Meanwhile, Cars 3 and Transformers: The Last Knight are both aiming for $200 million. Last June was not particularly strong, outside of one hit. Finding Dory earned nearly $500 million domestically, while the second best film, Central Intelligence, barely earned a quarter of that. I don’t think any film will come close to Finding Dory, but there’s a lot more depth this time around and I have high hopes 2017 will extend its lead.
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| Release Date | Title | Role | Domestic Box Office | International Box Office | Worldwide Box Office |
|---|---|---|---|---|---|
| May 10, 2024 | Poolman | Producer | $131,000 | $131,000 | |
| Dec 25, 2020 | Wonder Woman 1984 | Director Screenwriter Producer Story by |
$46,801,036 | $119,559,196 | $166,360,232 |
| Jun 2, 2017 | Wonder Woman | Director | $412,563,408 | $405,128,358 | $817,691,766 |
| Dec 24, 2003 | Monster | Director | $34,469,210 | $29,731,111 | $64,200,321 |
| Averages | $123,491,164 | $184,806,222 | $262,095,830 | ||
| Totals | 4 | $493,964,654 | $554,418,665 | $1,048,383,319 | |
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| Release Date | Title | Opening Weekend | Maximum Theaters | Domestic Box Office | Worldwide Box Office | Domestic Share |
|---|---|---|---|---|---|---|
| Dec 25, 2020 | Wonder Woman 1984 | $16,701,957 | 2,218 | $46,801,036 | $166,360,232 | 28.1% |
| Jun 2, 2017 | Wonder Woman | $103,251,471 | 4,165 | $412,563,408 | $817,691,766 | 50.5% |
| Dec 24, 2003 | Monster | $86,831 | 1,093 | $34,469,210 | $64,200,321 | 53.7% |
| Averages | $40,013,420 | 2,492 | $164,611,218 | $349,417,440 | 44.1% | |
| Totals | 3 | $493,833,654 | $1,048,252,319 | |||
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| Release Date | Title | Opening Weekend | Maximum Theaters | Domestic Box Office | Worldwide Box Office | Domestic Share |
|---|---|---|---|---|---|---|
| May 10, 2024 | Poolman | $131,000 | 162 | $131,000 | $131,000 | 100.0% |
| Dec 25, 2020 | Wonder Woman 1984 | $16,701,957 | 2,218 | $46,801,036 | $166,360,232 | 28.1% |
| Averages | $8,416,479 | 1,190 | $23,466,018 | $83,245,616 | 64.1% | |
| Totals | 2 | $46,932,036 | $166,491,232 | |||
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| Release Date | Title | Opening Weekend | Maximum Theaters | Domestic Box Office | Worldwide Box Office | Domestic Share |
|---|---|---|---|---|---|---|
| Dec 25, 2020 | Wonder Woman 1984 | $16,701,957 | 2,218 | $46,801,036 | $166,360,232 | 28.1% |
| Averages | $16,701,957 | 2,218 | $46,801,036 | $166,360,232 | 28.1% | |
| Totals | 1 | $46,801,036 | $166,360,232 | |||
