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More in line with its tracking, Blockers opens to “the 20″ and will look at word-of-mouth to define the degree of its success. Opening also-rans are Chappaquiddick and The Miracle Season.
In limited, WB scores with Pandas on 33 IMAX screens, while Amazon, in just its second solo release, gets $43k per on three with You Were Never Really Here.
Tracking is an important and valuable resource. As much as it got the A Quiet Place opening wrong, it also gave Paramount the tools to market the movie to get it to this number.
The two times you ever hear wide discussion of tracking is when writers bring up “expectations.” You should read that word as “I have been told this by someone with a vested interest and they are trying to spin the story before, during or after the actual event.” But tracking is one of those things that isn’t meant to be discussed in public. It was not created or implemented widely for the purpose of setting a betting line.
Like political surveying, tracking is an art as much as a craft. We, the public, are offered hard numbers and few even linger on the “+/-3 pts” that is offered as the public mea culpa to the realities of surveying a percentage of people to get a result reflective of the mass. Tracking is meant to tell distributors, first, whether people are aware of the movie that is coming; then, how to decipher who the audience is (and who the audience might become), how strong the passion is for the movie, and where pockets of strength and weakness are around the demos and the nation.
When you see a political survey, you should be conscious of the soup that the surveyor created to come up with that result. Trump’s approval numbers from Rassmussen are not lies, as such. But they are manipulated to be higher than anyone else’s numbers by adding more areas and people who are Trump supporters.
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