Robin Williams, who died Monday at age 63, harnessed his zany comic persona to become one of Hollywood’s most celebrated and bankable movie stars.
Mr. Williams was found dead at his home in Tiburon, Calif., just north of San Francisco, according to the Marin County Sheriff’s Office.
The apparent cause of death was suicide by asphyxiation, although an investigation is continuing.
Emergency personnel found Mr. Williams inside the house he shared with his wife, Susan Schneider, after a 911 call reported a man unconscious and not breathing. The sheriff’s office said Mr. Williams was last seen alive at 10 p.m. on Sunday.
Mr. Williams’s high energy at times masked a personal struggle with alcohol and drug addiction, and a representative for the actor said Monday that “he has been battling severe depression of late.”
After starting his career in stand-up comedy and bursting into public consciousness in 1978 with the hit television comedy “Mork & Mindy,” Mr. Williams built an acting career that included a mix of over-the-top star vehicles like “Mrs. Doubtfire” and “The Birdcage,” along with well-received roles in dramas including “Awakenings” and “Insomnia.”
He was nominated for four Oscars, winning best supporting actor for his role as a therapist to a troubled young math genius in “Good Will Hunting,” which was released in 1997. “This might be the one time I’m speechless,” he said upon accepting the award.
Since his days on “Mork & Mindy,” a fish-out-of-water tale that ran for four seasons in which he played an alien from the planet Ork, Mr. Williams demonstrated a fully formed comedic style filled with tics and habits that would become his trademarks.
Those idiosyncrasies, like monologues full of non sequiturs or unexpected accents, would help him quickly become one of the world’s biggest comedy stars and a favorite guest of late-night television talk shows. Even when not pictured on screen, Mr. Williams had a tendency to become the center of attention, including a celebrated turn as the voice of the madcap genie in the 1992 animated film “Aladdin.”
In 1986, he worked with fellow comedians Whoopi Goldberg and Billy Crystal to start Comic Relief Inc., a charity that raises money for the homeless. Together, they hosted an annual comedy fundraiser for more than a decade, reuniting in 2006 to raise money for people displaced by Hurricane Katrina.
But Mr. Williams surprised many fans who thought of him as “Mork from Ork” by harnessing his manic energy into a string of more dramatic roles. Beginning with 1987’s “Good Morning, Vietnam,” he was nominated for a best actor Oscar three times in five years, with nominations also for “Dead Poets Society” and “The Fisher King.”
Mr. Williams’s acting career slowed in the past decade. He starred in the short-lived series “The Crazy Ones,” which was canceled in May. He recently played the role of Teddy Roosevelt in the family comedy “Night at the Museum: Secret of the Tomb,” which will be released in December.
“As he is remembered, it is our hope the focus will not be on Robin’s death, but on the countless moments of joy and laughter he gave to millions,” said Ms. Schneider, his wife.
Not to be outdone, Dwayne Johnson‘s Hercules opens to a respectable $29 million to place second in the weekend rankings.
The two big new releases, Scarlett Johansson‘s Lucy and Dwayne Johnson’s Hercules are both hits this weekend. This is also yet another example of why the obsession over rank is foolhardy. Yes, Universal’s sci-fi actioner easily topped the box office this weekend with a superb debut, but Paramount and MGM’s fantasy actioner is performed much better than I expected.
First off, Universal’s Lucy, which cost EuropaCorp around $40 million to produce, debuted with a whopping $44.025 million over the weekend, giving it a solid 2.57x weekend multiplier off a $17.1m opening day (and $2.8m worth of Thursday grosses). This is a huge win for Scarlett Johansson. Coming off her Black Widow roles in the Marvel universe and her acclaimed art house triumph in Under the Skin, this should be her first $100m domestic hit outside of the Marvel universe while trouncing her biggest non-Marvel opening (He’s Just Not That Into You, an ensemble film,with a $27m debut and $93m final gross).
This will easily be Luc Besson‘s biggest directorial box office hit, as it will pass the $63 million domestic gross of The Fifth Element by the middle of next weekend and should play like gangbusters overseas (The Fifth Element‘s $263m worldwide gross shouldn’t be a problem). It’s already his second biggest domestic grosser ever, topping the $36m gross of The Family from last year. Among films that the prolific French genre filmmaker has produced, the goalpost is the $145m domestic gross of Taken and the $363m global gross of Taken 2, both of which are possible without being explicitly plausible. The opening is Besson’s second-biggest as a producer or director, coming in just below the $48m debut of Taken 2. But pretty much any film Besson produced or directed aside from the Taken series and possibly The Fifth Element is going to be left in the dust.
The R-rated picture played 50% female and 65% over-25 years old. It played 35% Caucasian, 29% Hispanic, 19% African American, 12% Asian, and 5% “other.” It also played 12% on PLF screens. I’ll say this again and again, but the story of the summer box office should darn-well be the breakout success of female-skewing genre properties. This is a clear example of where a known but not explicitly box office “star” was pared with a simple but attractive concept (watch that female star you know get superpowers and kick butt) and the results show accordingly. I don’t know if the blatantly misleading marketing will hurt the film over the long run, but it certainly got audiences into the theater this weekend.
As the San Diego Comic Con panel ends this weekend with no major new female-centric superhero films from the DC/Marvel slate, it is worth noting that there are few (if any) male stars currently headlining the male-centric superhero films who could have pulled off an “all by myself” opening of this nature.
Despite doom-saying box office pundits who needed a catchy headline as a gateway into writing about something else, Hercules will not be the summer’s first box office flop. I’m happy to be wrong, as the summer’s “no studio mega-flops” streak continues into August. Despite terrible buzz, some misleading and relatively uninspiring marketing, and the film itself mostly being hidden from domestic press until the last minute, Brett Ratner’s Hercules scored a solid $29 million over its debut weekend, including $4m on IMAX. That’s about where Tom Cruise’s Edge of Tomorrow ended up on its debut weekend, but that film cost $175m while the Dwayne Johnson fantasy action-adventure filmcost $100m to produce. Budgets matter, folks. It’s why 300: Rise of an Empire (budgeted at $110m) is a big hit at $330m worldwide while Edge of Tomorrow is struggling at $360m worldwide.
This is easily Dwayne Johnson’s biggest “all by myself” debut weekend since his breakout in The Scorpion King ($36m) back in 2002, which had the bonus of being a Mummy Returns spin-off. Considering how uninspiring the film looked, again the film’s marketing campaign sold something the movie wasn’t, this is a case where star+concept (See The Rock as Hercules!) was enough to overcome the utter lack of anything else to entice moviegoers. The irony is that the picture was much better than anyone expected. As such, we’re seeing tons of “It’s actually pretty darn good!” reviews dropping over the weekend and it stands to reason that audiences will be surprised too. This one may just hang in there past opening weekend.
The one-two-three punch of Guardians of the Galaxy, Teenage Mutant Ninja Turtles, and The Expendables 3 is going to hurt, but Hercules stands a solid chance of being the second-choice consensus pick over the next month. It’s an old-school popcorn entertainment that should get positive word-of-mouth from Dwayne Johnson fans and action junkies. I still think Paramount made a mistake in hiding the film from critics, especially as said decision was arguably more about hiding their false advertising (the film isn’t remotely about Hercules fighting supernatural monsters while avenging his murdered family) than the film’s quality.
But the film didn’t go down in flames as some expected and may well be a big hit depending on how well it plays overseas. $100 million domestic is a possibility and numbers similar to Edge of Tomorrow or even 300: Rise of an Empire are quite plausible. In America, it played 58% male and 64% over-25 years old. It also made $28.7 million from nineteen international markets, including $12m in Russia, as the start of its overseas roll-out, giving the film a $57m worldwide bow. Again, this is just one weekend’s gross we’re talking about here, but perception matters right from the get-go. Dwayne Johnson’sHercules is no flop and I’m happy to be wrong on this one. It’s also a pretty good movie, and I’m even happier to be wrong on that score.
The other wide release, from Clarius Entertainment, is the Rob Reiner-directed comedy So It Goes. The Michael Douglas/Diane Keaton picture was obviously intended to be counter-programming for older audiences, but audience awareness was almost non-existent. So cue a rather terrible $4.55 million weekend gross on 1,762 screens. Blame the light marketing, which didn’t really sell the premise (Douglas being forced to care for a granddaughter and roping Keaton into the mix) and just-plain didn’t make its existence known. There really is a marketing difference when you compare smaller distributors to the major studios. But heck, even CBS Films was able to get Last Vegas to a $16m opening weekend last November and to a whopping $63m domestic gross.
Open Road Film’s The Fluffy Movie (a stand-up concert film featuring Gabriel Iglesias) debuted with $1.31 million on 432 screens. Alas… A Most Wanted Man received a surprisingly wide release, as the Roadside Attractions spy thriller earned $2.7m on 361 theaters ($7,527 per-screen). Obviously the hook is that it’s the last starring role for the late Phillip Seymour Hoffman. Woody Allen’s Magic in the Moonlight (starring Colin Firth and Emma Stone as his daughter… er, I mean love interest*) opened on 17 screens from Sony Pictures Classics and grossed $425,720 for the weekend for a solid $25,042 per-screen average.
In holdover news, IFC expanded Boyhood to 107 theaters this weekend and earned around $1.6m weekend. The acclaimed Richard Linklater drama has earned $4m domestic. 20th Century Fox’s Dawn of the Planet of the Apes earned $16.4 million (-55%) on its third weekend, for a $172m domestic cume. It’s legs are starting to fall under its predecessor (which earned $16.1m on its third weekend for a 42% drop), but the $170m sequel will pass the $176m total of Rise of the Planet of the Apes in a couple days and will probably cross $200m probably the weekend after next.