好萊塢夏季票房，還是得指望女觀眾

At the Box Office, It’s No Longer a Man’s World

好萊塢夏季票房，還是得指望女觀眾

Heading into the all-important summer moviegoing season, two converging box-office trends are startling studios: Women are driving ticket sales to a degree rarely, if ever, seen before, while young men — long Hollywood’s most coveted audience — are relatively AWOL.

在至關(guān)重要的夏日觀影季即將到來之際，兩股票房潮流的匯聚讓電影公司感到驚訝：女觀眾對票房的推動(dòng)達(dá)到前所未有的高度，而男性青少年觀眾卻相對減少了，長期以來他們是好萊塢最看重的觀眾。

With the release of “The Divergent Series: Insurgent” over the weekend, women have delivered the three biggest live-action openings of the year. The audience for “Insurgent,” which took in an estimated $54 million from Friday to Sunday, was 60 percent female. The opening-weekend crowd for “Fifty Shades of Grey” was 67 percent female, and women made up 66 percent of the audience for “Cinderella.”

本年度最轟動(dòng)的三次真人電影上映周末都是由女性觀眾制造的，上周末的《反叛者》(The Divergent Series: Insurgent)是最新的一次?！斗磁颜摺窂闹芪宓街苋占s賺得5400萬美元票房，觀眾中有60%是女性?！段迨然摇?Fifty Shades of Grey)上映那個(gè)周末的觀眾中有67%是女性;《灰姑娘》(Cinderella)的觀眾中有66%是女性。

It would be easier to dismiss those percentages as a fluke — three big female-oriented movies just happened to arrive in proximity — if a parade of movies aimed at young men had not bombed over the same period. Among the carnage: “Jupiter Ascending,” “Seventh Son,” “Hot Tub Time Machine 2,” “Chappie” and, over the weekend, Sean Penn’s “The Gunman.”

人們很可能會(huì)將熱門電影中女性觀眾的高比例視為偶然現(xiàn)象，說這是因?yàn)槿恳耘詾槟繕?biāo)觀眾的大制作影片碰巧接連上映，但在同一時(shí)期，一大堆以青少年男性為目標(biāo)觀眾的電影卻遭遇滑鐵盧，包括《木星上行》(Jupiter Ascending)、《第七子：降魔之戰(zhàn)》(Seventh Son)、《熱浴盆時(shí)光機(jī)2》(Hot Tub Time Machine 2)、《超能查派》(Chappie)以及上周末肖恩·潘(Sean Penn)的《臥底槍手》(The Gunman)。

The shift has been noticeable enough to prompt movie executives and producers to ruminate about the causes and consider whether the big film factories should recalibrate their assembly lines. Counting on the stability of young men, studios have nearly 30 superhero movies on the way by the end of 2015, each costing well over $100 million to make. But young men are more easily distracted by other forms of entertainment, and women may now be the more reliable opening-weekend audience.

這種變化已經(jīng)非常明顯，足以促使電影公司執(zhí)行官和制作人們思考它背后的原因，考慮大型電影公司是否應(yīng)該重新安排生產(chǎn)線。電影公司把賭注壓在年輕男觀眾的穩(wěn)定性上，到2015年底將有近30部超級英雄大片上映，每一部的制作費(fèi)都遠(yuǎn)在一億美元之上。但是年輕男人更容易被其他娛樂方式吸引，而女性現(xiàn)在可能是更可靠的上映周末(opening-weekend)觀眾。

“You can never put your finger on it entirely, but you have to ask the questions,” said Dan Fellman, president of domestic distribution at Warner Bros. “Is this just the cyclical nature of the movie business? Or does it point to a more serious shift in habits?”

“你永遠(yuǎn)也不可能完全弄清原因，但你必須開始思考，”華納兄弟影業(yè)(Warner Bros)的國內(nèi)發(fā)行總監(jiān)丹·費(fèi)爾曼(Dan Fellman)說，“這只是電影業(yè)的自然周期，還是反映出更重大的習(xí)慣變化?”

The uncertainty comes as Hollywood tries to bounce back from a terrible 2014. Admissions fell 6 percent at North American theaters last year, to 1.27 billion, compared with the previous year; ticket sales declined 5 percent, to $10.4 billion. Ticket sales are up about 4 percent so far in 2015, but the high-risk summer months — packed with male-centric movies like “Mad Max: Fury Road,” “Terminator: Genisys” and “Ant-Man” — usually set the pace for the year.

這種不確定性出現(xiàn)之際，正值好萊塢努力從糟糕的2014年重振旗鼓之時(shí)。去年，北美的觀影人次與前年相比下跌6%，跌至12.7億人次;票房銷售下跌5%，跌至104億美元。2015年到目前為止，票房銷售增長了約4%，但是高風(fēng)險(xiǎn)的夏季通常會(huì)決定一年的總體形勢，因?yàn)橄募緮D滿了以男性觀眾為主的電影，比如《瘋狂的麥克斯4：狂暴之路》(Mad Max: Fury Road)、《終結(jié)者：創(chuàng)世紀(jì)》(Terminator: Genisys)和《蟻人》(Ant-Man)。

Studios awoke to the power of female ticket buyers in 2008, when the “Twilight” action romances became a global phenomenon. Since then, women have turned films like “The Hunger Games,” “Bridesmaids” and “Frozen” into smash hits. But the muscle of women at the multiplex has recently gone “from sporadic to continuous,” said Paul Dergarabedian, a senior analyst at Rentrak, which tracks box-office data.

2008年，電影公司開始領(lǐng)悟到女性購票者的力量，那一年，刺激的愛情片《暮光之城》(Twilight)在全球受到熱捧。從那以后，女性觀眾使得《饑餓游戲》(The Hunger Games)、《伴娘》(Bridesmaids)和《冰雪奇緣》(Frozen)等影片轟動(dòng)一時(shí)。但是，票房數(shù)據(jù)跟蹤公司Rentrak的高級分析師保羅·德加拉貝迪安(Paul Dergarabedian)說，最近，女性在影院的影響力“由零散性變?yōu)槌掷m(xù)性”。

Young men used to be Hollywood’s most reliable audience, in part because they tended to be less discriminating than women. “No story? No problem! As long as people got blown up, guys showed up,” Mr. Dergarabedian said.

過去，年輕男人是好萊塢最可靠的觀眾，部分原因是他們不像女人那么挑剔。“沒有故事?沒關(guān)系!只要有人被炸飛、硬漢能現(xiàn)身就行，”德加拉貝迪安說。

But studio research executives say young men are the most likely to be lured by alternative activities like video games, sports and YouTube comedy clips. Research indicates that teenage boys in particular do not want to be told when and where they have to consume entertainment, which makes herding them into a movie theater difficult.

不過，電影公司的調(diào)查主管們說，年輕男人最可能被其他娛樂活動(dòng)吸引，比如電子游戲、運(yùn)動(dòng)或YouTube上的搞笑視頻。調(diào)查表明，十幾歲的男孩尤其不喜歡在確定的時(shí)間和地點(diǎn)進(jìn)行娛樂，因此把他們聚到影院比較困難。

In contrast, “teenage girls still seem to want the experience of going to the movies as a group,” said Terry Press, president of CBS Films, which recently hit specialty film pay dirt with “The DUFF,” an $8 million comedy about a high school pecking order that is closing in on $35 million in ticket sales, overwhelmingly because of female moviegoers.

相比之下，“十幾歲的女孩似乎依然喜歡一起去看電影的感覺，”CBS電影公司總裁特里·普雷斯(Terry Press)說。最近，該公司憑借特色影片《丑女也有春天》(The DUFF)大賺一筆。這部喜劇片講述的是高中里的社會(huì)等級，成本為800萬美元，票房收入為3500萬美元，主要來自女性觀眾。

The recent box-office gyrations also expose a flaw in studio strategy, analysts say. At a time when so many movies turn themselves inside out trying to attract everyone (a plan that could be summed up as “wide and shallow” in industry parlance), it is clearly possible to fill a big tent by picking a couple of demographics, in particular underserved ones, and superserving them (“narrow and deep”).

分析師們稱，最近的票房波動(dòng)也暴露出電影公司策略的一個(gè)缺點(diǎn)。許多電影徹底顛覆自己，努力吸引所有人(行話說就是“廣泛而膚淺”)。與此同時(shí)，選擇明確的目標(biāo)觀眾，特別是那些沒有得到足夠服務(wù)的人們，對他們給予特別優(yōu)待(“細(xì)化而深刻”)，顯然也能收獲成果。

“Cinderella,” for instance, was not aimed at everyone. But by being a perfect version of something narrower — a costume romance aimed at mothers and girls — “Cinderella” has sold a stout $122 million in tickets in the United States and Canada in just two weeks. (“Empire,” aimed initially at often-ignored African-American viewers, offers a corollary example from television.)

一個(gè)極佳的例子是古裝愛情劇《灰姑娘》，它的受眾較窄，不是面向所有人，而是針對母親和女孩。它的北美票房僅在兩周內(nèi)就達(dá)到1.22億美元。大獲成功的《嘻哈帝國》(Empire)最初針對的是經(jīng)常被忽視的非裔美國觀眾，是電視圈的一個(gè)類似成功案例。

“What has been happening at the box office sends a message loud and clear that you don’t need four quadrants to be a massive hit,” said Phil Contrino, chief analyst at BoxOffice.com. In movie jargon, a four-quadrant movie is one that attracts men and women, young and old; Hollywood considers anyone over 25 to be old.

“票房情況發(fā)出了一個(gè)清晰明確的信號，不是只有‘四象限影片’(four quadrants)才能成為熱門影片，”BoxOffice.com網(wǎng)站的首席分析師菲爾·孔特里諾(Phil Contrino)說。在電影術(shù)語中，“四象限電影”指的是吸引男女老幼的影片——好萊塢把所有25歲以上的人都?xì)w入“老”的類別。

When it comes to the male-female divide, the recent overreliance by studios on visual effects may play a role. The bar for visual effects has been raised so high, experts say, that nothing less than a prolonged smackdown between a raging Hulk and a supersize Iron Man has much hope of turning male heads.

提到男女區(qū)別，近些年電影公司對視覺效果的過分依賴可能也產(chǎn)生了一些影響。專家們說，如今觀眾對視覺效果的要求很高，恐怕只有憤怒的綠巨人(Hulk)和超大型鋼鐵俠之間的長時(shí)間打斗才能引起男人們的強(qiáng)烈興趣。

“You used to be able to go to movies and see something that you never saw before — a giant shark, dinosaurs,” said Allison Shearmur, a producer of “Cinderella” and a former senior executive at Lionsgate, Paramount and Universal. “But spectacular visual effects have become routine.”

“過去，你走進(jìn)電影院，有可能看到之前從沒見過的東西——巨大的鯊魚、恐龍，”《灰姑娘》的制作人艾莉森·什耶默(Allison Shearmur)說。她曾擔(dān)任獅門電影公司(Lionsgate)、派拉蒙影業(yè)(Paramount)和環(huán)球影業(yè)(Universal)的高級執(zhí)行官。 “但是壯觀的視覺效果已成為常規(guī)。”

Ms. Shearmur continued: “So what does that mean? It means that we’ve got to make more movies that have a compelling core story. The audience still comes when the story is strong, when we can laugh or cry or be afraid in a theater together.”

什耶默接著說道：“所以那意味著什么?那意味著，我們必須拍出更多具有精彩的核心故事的影片。如果故事很有趣，觀眾們還會(huì)去看，因?yàn)樗麄兛梢栽谟霸豪镆黄鸫笮Α⒋罂藁蛘呖謶帧?rdquo;

Mr. Fellman of Warner Bros. predicted that boys would return en masse for coming PG-13 event movies like “Furious 7” and “The Avengers: Age of Ultron.”

華納兄弟影業(yè)的費(fèi)爾曼預(yù)計(jì)，男孩子們會(huì)一起去影院觀看即將上映的PG-13級別的電影，比如《速度與激情7》(Furious 7)和《復(fù)仇者聯(lián)盟2：奧創(chuàng)紀(jì)元》(The Avengers: Age of Ultron)。

“Outside of ‘American Sniper,’ which started older and got younger, and ‘Kingsman: The Secret Service,’ there has been a noticeable lack of young men,” Mr. Fellman said. “But a lot of the so-called guy movies recently have been rated R, and you lose a lot of tweeners that way,” he noted.

“除了《美國狙擊手》(American Sniper，它本來是針對年紀(jì)較大的觀眾，后來轉(zhuǎn)向年輕觀眾)和《王牌特工：特工學(xué)院》(Kingsman: The Secret Service)，現(xiàn)在明顯缺乏針對年輕男子的影片，”費(fèi)爾曼說，“但是很多所謂的硬漢片最近都被評為R級，因此失去了很多青少年觀眾。”

Warner will add another R-rated comedy to the mix on Friday with “Get Hard,” which has been generating solid interest from men in prerelease surveys.

周五，華納公司將在自己的上映組合計(jì)劃中加入另一部R級喜劇片——《獄前教育》(Get Hard)。這部影片在預(yù)映調(diào)查中引起了男人們的強(qiáng)烈興趣。

But the success of Hollywood’s summer box office may well rest with women. Nestled among the superheroes and action movies are an unusually large number of pictures aimed at a female audience, including “Pitch Perfect 2,” an estrogen-heavy musical comedy; “Spy,” an action comedy starring Melissa McCarthy; “Pan,” a splashy adaptation of the Peter Pan story; and the male stripper sequel “Magic Mike XXL.”

但是好萊塢夏季票房的成功可能主要在很大程度上也要看女人。在超級英雄大片和動(dòng)作影片中通常會(huì)夾雜著很多針對女性觀眾的影片，包括女性色彩濃郁的音樂喜劇片《完美音調(diào)2》(Pitch Perfect 2);梅利莎·麥卡錫(Melissa McCarthy)主演的動(dòng)作喜劇片《密探》(Spy);引人注目的改編影片《彼得·潘》(Pan);以及關(guān)于脫衣舞男的后續(xù)影片《魔力麥克2》 (Magic Mike XXL)。