Chapter 284: Breaking $300 Million

In this era, information flows smoothly, except for a few regions that are almost disconnected from Earth, news of a Hollywood movie's big success in North America quickly spreads across the globe.

The global film market has developed to a point where only Hollywood movies can universally circulate worldwide, a fact even those least interested in Hollywood must acknowledge, especially when it comes to blockbusters that, aside from a few specific genres, are also wildly popular in most overseas markets.

"Deadpool" is no exception.

In its opening weekend in the UK, "Deadpool" debuted with an impressive $15.2 million, setting the record for the best April opening for an R-rated movie in the UK film market.

That same weekend, "Deadpool" also premiered in many other countries and regions, especially those heavily influenced by Western culture.

In Germany, the film earned $8.65 million in its first week; in sunny Spain, it made $3.9 million in three days; it garnered $9.1 million from France; $10.15 million from Australia; $5.37 million from Brazil; over $6.1 million from Mexico; $7.5 million from South Korea...

Looking at the global film market, this was "Deadpool's" weekend. Even without including North American box office figures, the movie exploded with $112.5 million in 37 countries and regions globally!

This was also Murphy's biggest overseas box office haul for a single film since entering Hollywood.

Meanwhile, Murphy left the UK for Paris, the city of art, to continue his promotional tour in Europe.

The questions from Fleet Street journalists were straightforward, but given the many cultural similarities between British and American cinema, the interviewers, despite their sharp questions, did not challenge or trouble Murphy about the film.

However, France was different. As the birthplace of cinema, many French filmmakers possess a unique sense of superiority. Clear-headed individuals like Luc Besson were one thing, but those immersed in their own artistic world often looked down on Hollywood blockbusters, especially when such movies became hits, they would turn their noses up.

This attitude naturally spread to the French film critique and media industry, who seldom took Hollywood's commercial films seriously.

But Murphy didn't care about their opinions. There's a saying across the Pacific that resonates well: "If the paths do not align, there is no need to walk together." Since there's a fundamental difference in film philosophy, there's no need for interaction.

Aside from two routine promotional events, he didn't stay in France any longer nor had any interest in mingling with French peers.

Indeed, French cinema may almost be seen as the flagship of European continental film, but so what? Hollywood movies are evolving towards appealing to a broader audience, whereas European continental films are becoming increasingly niche.

Globally, the decline of European cinema is an undeniable fact.

When thinking of a mature and comprehensive film industry, the first thing that comes to normal people's minds is Hollywood. This can also be seen from the explosive overseas box office of "Deadpool," proving that only Hollywood has the capability to produce such large-scale industrial movies with highly specialized genres, technical support for action and stunt films, and global distribution capabilities.

"Why can Hollywood occupy so much of the overseas market share?"

On the plane, Jessica Alba, sitting opposite Murphy, asked curiously, "Murphy, what do you think is the key factor?"

Murphy's gaze returned from the window outside. Thanks to "Deadpool's" box office success, 20th Century Fox splurged on a private jet for the European promotional tour.

Seeing Murphy not speaking, Jessica Alba asked again, "Is it the advantage of industrialization?"

"That's part of it," Murphy replied, taking a sip from his water before adding, "I think it's Hollywood's global distribution capabilities. That's the goal and the core driving force."

Jessica Alba's eyes showed a profound curiosity, "Can you explain more?"

The flight to Rome took some time, and Murphy nodded.

"This is my personal opinion. The prominent factor of global distribution capabilities decides that it's Hollywood, not other countries' cinemas, that can form such a complete industrial system."

His view represents the mainstream opinion, "And it's this factor that has kept the Hollywood film industry dominating the global market for so many years since World War II. Though there have been setbacks, the overall situation has never changed."

Murphy added, "Think about the current big six studios in Hollywood. Can you find such scale of distribution companies in any other country's film industry?"

Jessica Alba thought seriously for a while, then shook her head, "No."

She ran her fingers through her brown hair, "Such capability seems effortless for the big six, right?"

"It seems simple," Murphy shook his head, "but it's quite difficult in practice."

"It is difficult," chimed in Robert Downey Jr., who walked over with a cup in hand. "Otherwise, there wouldn't be only one Hollywood in the world."

He sat next to Murphy, taking over the conversation, "Because to maintain a true global distribution capability, one needs a deep understanding of markets worldwide and be able to balance the differences in cultural interpretation within the same movie."

Murphy nodded in agreement, fully endorsing Robert Downey Jr.'s words.

Jessica Alba, more like a beautiful listener, continued to look at Murphy with curiosity.

Seeing her expression, Robert Downey Jr. spoke again, "But like 'Deadpool,' making global audiences catch the same joke, agree on the same concept, and like the same character. This requires talent or a master-level artist to occasionally achieve. In Hollywood, this has become a standardized production and operation mechanism, so it's not surprising that Hollywood can have its current scale."

"You know a lot, Downey," Murphy patted Robert Downey Jr.'s shoulder, standing up to go chat with Seth.

Leaving his seat, Murphy found Seth Rogen sitting in the row behind, engrossed in a book.

He sat opposite Seth, asking, "'The Elements of Cinema'?"

Seth noticed Murphy, put down the book, and chuckled awkwardly, "Bought it before boarding."

"Carry on then," Murphy felt it was better not to disturb him.

Since shooting "Deadpool," he noticed that Seth Rogen, aside from acting, was also studying directing. A very ambitious guy.

Without a doubt, Seth Rogen and Jonah Hill are excellent at comedy. Not pursuing comedic films would be a waste. Jonah Hill was different, enjoying fun too much without thoughts beyond acting, and he was already collaborating with James Franco and the "Freaks Gang" on a new movie.

Murphy was well-acquainted with these individuals, recognizing Seth Rogen's potential and determination. Although he might not achieve the acting success of Robert Downey Jr. or James Franco, he could become a competent comedy director.

Currently, Seth was just starting as an assistant director, far from enough in capability. But if he made significant progress in directing in a few years, Murphy might give him a push.

Watching Seth pick up the book again, Murphy naturally thought about these things. He wasn't skilled in comedy but had studied a few comedic works. The investment was small, the risk low, and it could attract external funds. If successful, the return wouldn't just be helping Seth; there would be substantial profits.

He could even involve his whole circle...

Thinking of these miscellaneous matters, Murphy closed his eyes, and a flight

 attendant covered him with a blanket.

"Thank you," Murphy opened his eyes, nodded at the attendant, then closed his eyes and fell asleep.

In his dream, James Franco, Seth Rogen, Jonah Hill, Robert Downey Jr., and he suddenly appeared in the mansion Robert Downey Jr. had just bought in Beverly Hills. They drank wildly, danced, and fooled around with countless female stars until the world outside crumbled, engulfed in flames...

When the plane was about to land, Seth Rogen woke Murphy up. The private jet smoothly landed at Rome's Fiumicino Airport. Once the crew passed through a crowd of fans and reporters at the airport and got into cars, Murphy received the latest North American box office statistics from 20th Century Fox.

This past weekend, "Deadpool" not only exploded overseas but also had no competition in the North American market, where it had been released for four weeks. Its performance was exceptionally stable, with only a 40% drop from the previous weekend, earning $27.6 million and achieving a three-peat at the top of the North American box office.

This was Murphy's first time securing three consecutive box office championships. "Deadpool" became the first film this year to achieve a three-peat in North America.

Previously, the film had already earned $186.3 million in North America. With this weekend's $27.6 million, plus $19.88 million from four weekdays, "Deadpool's" cumulative North American box office reached $233.78 million.

Adding the weekend's $112.5 million from overseas, the film's global box office easily surpassed $300 million, reaching $346.28 million.

By the time Murphy and his team finished their Rome schedule, "Deadpool" effortlessly broke the $350 million mark.

But this wasn't the end. The storm stirred up by the film was far from over.

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