The Twilight Saga: Breaking Dawn – Part 1 is expected, naturally, to be a big factor in this fall’s film line-up. For instance, USA Today estimates it’ll be one of those films “expected to anchor the season’s tent-pole pictures.” It’s no wonder, really, since its three predecessors (Twilight, New Moon, and Eclipse) pulled in, combined, over $1.8 billion in worldwide box office sales.
Breaking Dawn – Part 1 is part of a record group of twenty-seven sequels due this year, but the Twilight Saga has an incredibly unique and loyal fanbase that has helped make the sequels even more successful than the first film (see here for all the stats one could need on the first three Twilight Saga films).
Also, the release date for Breaking Dawn – Part 1 is more suited to Twilight, as Box Office Mojo notes:
With its Nov. 18 date, Breaking Dawn follows the pre-Thanksgiving release pattern that helped Twilight and New Moon became box office sensations. Twilight opened to $69.6 million in Nov. 2008, ultimately closing at $192.8 million. A year later, New Moon was even more impressive, setting midnight and opening day box office records on its way to a $142.8 million start. New Moon ended up with $296.6 million domestically and over $400 million internationally, for a worldwide total exceeding $700 million.
As noted back in March, The Twilight Saga: Breaking Dawn – Part 1 and The Twilight Saga: Breaking Dawn – Part 2 are expected to bring in a combined $1.2 billion in the box office, and the budgets for each were accordingly amped up quite a bit (The Wrap reported Part 1‘s budget to be $127.5 million and Part 2‘s to be $136.2 million).
If the numbers for Breaking Dawn – Part 1 mirror those of New Moon (over $700 million worldwide), and Part 2‘s follow suit, reaching that estimate will be no trouble for the two films. (Note: While some contend Part 2 should’ve been slated for June, 2012, others have noted the wisdom of a fall release date).
In any case, The Twilight Saga and its fanbase aren’t being taken lightly anymore . . . we’ve become a factor. As Chris Weitz (director for New Moon and the new A Better Life) recently said, “the great thing about the success of the Twilight films is . . . it’s defined sort of the strength of movies about emotions in the marketplace.” Or as another source noted when New Moon railed the box office and smashed a few records along the way:
“The fact that a film fueled by woman power and starring a woman has called such waves in Hollywood is unprecedented.”
Not anymore . . .
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