Linda Cohen
Composer

Financial Data

Film Title Release (m/yr)

	Film Title	Release (m/yr)	Est. Production Cost (millions)	US Box Office (000's)	Foreign Box Office (000's)	Worldwide Box Office (000's)	Est. World Film Rentals (000's) Est. Profitable
	The Benefactor	01/2016	N/A	2,000	N/A	2,000	940
	Rosewater	11/2014	6	3,070	N/A	3,070	1,443
	If I Stay	08/2014	12	50,100	27,480	77,580	34,539
	Admission	03/2013	15	17,950	N/A	17,950	8,437
	The Possession	08/2012	16	48,750	28,050	76,800	34,133
	Seeking A Friend From The End Of the World	06/2012	11	7,120	4,885	12,005	5,300
	Being Flynn	03/2012	N/A	539	N/A	539	253
	Young Adult	12/2011	14	16,150	6,250	22,400	10,091
	The Ides Of March	10/2011	14	42,120	26,500	68,620	30,396
	Bride Wars	01/2009	32	59,210	56,300	115,510	50,349
	The Secret Life Of Bees	10/2008	12	37,750	2,555	40,305	18,765
	Nick & Norahs Infinite Playlist	10/2008	10	31,850	315	32,165	15,096
	Starting Out In The Evening	11/2007	N/A	581	N/A	581	273
	Happy Accidents	09/2001	N/A	689	N/A	689	324

Note: Film Rentals is the amount received by Distributors from Theaters/Exhibitors. A film's profitability may be assessed when estimated world film rentals approach/equal/exceed estimated production cost. DVD, Television, Digital and Ancillary revenues are then added and production, marketing and other costs deducted (Cost variables may affect this calculation).

Click on Est. Profitable above.

Approximately one half of the films released each year in the U.S. avoid the considerable marketing costs of a wide release in theaters and go directly to digital and other media often taking them into profit. A substantial number are made for and streamed by Netflix, Amazon, Hulu, Disney, Apple, Peacock, HBO and similar platforms.