[Chapter 559: Run Lola Run Becomes a Blockbuster, Charlize's Star Rises]
Danny drove around the streets of Los Angeles for over an hour. Finally, the partition in the back went up, and Linton's voice came through: "Let's go home."
When Linton brought Charlize back to the estate, it was already past 9 p.m. Naturally, the women teased her relentlessly. But the jokes didn't bother Charlize one bit. Though she was only twenty, she wasn't shy at all. In fact, she was unusually lively and eager during the evening's party activities.
She even teased back, "I've got a promotional tour in a couple of days. You all better let me soak up some positive energy!"
...
Over the following days, Charlize clung to Linton with unusual intensity, especially when it came to their private moments -- her advances were bold and unmistakably eager.
Seeing all the members of the inner circle reunited, Linton finally set aside his work and training to spend a couple of carefree days partying and enjoying various skits with everyone.
...
In the early hours of December 29th, Run Lola Run opened its midnight shows in 1,500 screens, pulling in $2.37 million in midnight box office sales.
What stood out that night was the audience makeup, which was unlike any other film's -- an astonishing 65% were women. Meanwhile, Star Trek: First Contact, also opening that night, made $2.63 million from midnight shows across 3,100 screens. Keep in mind, Star Trek was a massive franchise with an established fanbase and wider screen count.
At 3 a.m., news of the midnight box office success reached Charlize. Overjoyed, she immediately claimed Linton's attention at the after-party events. Knowing she had to head out for promotional appearances early the next morning, the other women willingly gave up their time to let her have Linton for herself.
Spurred on by the box office win, Charlize went all out, showcasing every one of her talents with dazzling skill.
...
By 9 a.m., Charlize happily arrived at the studio to meet with director Anne Fletcher and others for the start of their North American promotional tour.
That same day, the film officially launched across North America in a massive release: 2,600 screens, commanding a solid 10% of show listings.
On its opening Friday, Run Lola Run pulled in $6.53 million, combining with the midnight figures for a total $8.7 million on day one. This accounted for 16% of the weekend's box office -- significantly higher than its screen share.
The top earner that day was still Star Trek: First Contact, taking in $9.34 million and 17% of the market.
The numbers shocked everyone. Who would have guessed that a modestly budgeted, female-led film could come this close to rivaling such a blockbuster franchise?
Charlize, the creative team, and the distribution department were ecstatic. The marketing push intensified immediately, and talks to secure more screen time ramped up rapidly.
Paramount, who had initially dismissed Run Lola Run, was caught completely off guard. Given the current box office, they had to consider shifting their theater allocations. An emergency meeting was called to strategize.
After analyzing the audiences and strengths of both films, Paramount decided against a smear campaign. Instead, they focused on boosting their own marketing and strengthening relationships with theater chains to avoid losing screens. The two films appealed to very different audiences; attacking the rival wouldn't bring any benefit.
More importantly, Linton's media empire behind Run Lola Run had promotional power that outmatched Paramount's efforts. A media war would only harm their own interests.
...
On Saturday, Run Lola Run earned $9.03 million, barely trailing behind Star Trek at $9.52 million.
By Sunday, theaters increased Run Lola Run to 3,000 screens -- raising its share to 14%. That day, Run Lola Run took in $8.41 million, overtaking Star Trek, which pulled $8.24 million.
After three days, the opening weekend total for Run Lola Run reached $26.14 million, just shy of Star Trek's $27.1 million -- landing it in the second spot.
Audience feedback was overwhelmingly positive. Surveyed viewers praised the film as highly entertaining and emotionally resonant, especially applauding its themes that resonated strongly with a new generation of women. Charlize's performance was singled out as outstanding, and of course, her beauty captivated everyone as well.
A third-party research group gave an overall audience rating of A-, forecasting a box office total near $100 million.
Crucially, critics and media outlets also showered the film with praise. Some lauded it as a rare blend of artistry, entertainment, and thought-provoking storytelling. Others highlighted its unique narrative style and deep thematic content that successfully engaged and moved audiences.
Feminist critiques hailed Run Lola Run for flipping the script on classic rescue tales. Traditionally, "heroes save the damsel," but here, the "damsel saves the hero." It was considered a celebration of women's progress and a milestone reflecting the spirit of the times.
The film also scored highly on IMDb, with an 8.3 rating, confirming its popularity among viewers.
...
From Monday onward, the theater share rose to 15%, matching Star Trek: First Contact.
Monday's box office was $4.27 million for Run Lola Run, a steep but acceptable drop that still managed to outpace Star Trek's $4.03 million.
Tuesday followed with $4.15 million versus Star Trek's $3.98 million.
Wednesday, $4.08 million to $3.94 million.
Thursday, $4.04 million to $3.96 million.
By the end of the first week, North American box office cumulative receipts hit $42.68 million, just $330,000 behind Star Trek, holding second place for weekly grosses.
With this momentum, it was almost certain that Run Lola Run would crack $100 million in North America alone.
...
Being a full-fledged, female-led film, the biggest beneficiary beyond the production company was naturally Charlize Theron herself.
Her star power skyrocketed, with her fanbase on Yahoo's celebrity forums growing by over 500,000 in just one week to 2.8 million. As word of mouth continued to spread, there was no doubt she would soon catch up to top-tier stars like Winona Ryder, Sophie Marceau, and Catherine Zeta-Jones.
Charlize personally felt her fans' passion surging during the promotion, with enthusiastic crowds chasing her wherever she went.
Her agent called with thrilling news -- new endorsement deals flooded in, and her yearly contract rates had soared to that of an A-list star, commanding $5 million annually.
Thanks to this film, Charlize was guaranteed to become a household name among Hollywood's top actresses.
...
Buoyed by the box office and her rising status, Charlize nearly called Linton every day, sharing her excitement and promising a big surprise after the promotional tour concluded.
However, next week, eight new films would hit theaters, including Disney's top-notch family comedy 101 Dalmatians.
As a result, the screen count for both Run Lola Run and Star Trek would inevitably drop -- from 3,300 screens down to 2,600 screens, with their market share slipping to 9%.
Considering Run Lola Run lacked blockbuster spectacle or cutting-edge special effects -- and with Charlize still not yet a global household name -- the film's modest budget and simple production design made it tough to market overseas as a Hollywood mega-hit.
Especially overseas -- except Europe, where feminist themes might resonate -- the movie was likely to struggle at the box office.
But from the earliest stages of production, Linton had his sights set on awards season. His strategy was clear: secure several Oscar nominations first, then launch the film internationally, where its profile and box office would rise dramatically.
Taking all factors into account, the decision was made not to release Run Lola Run overseas immediately. The plan was to wait until after the Oscar nominations were announced before it debuted on the international market.
*****
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