There Was A Time When Comedies Were One of Hollywood’s Most Reliable Money-makers

A new wave of comedy releases is attempting to reverse the genre’s decline. This month, studios rolled out a string of comedies. Paramount Pictures began with a reboot of “The Naked Gun.” It stars Liam Neeson and Pamela Anderson.

Disney has dropped a highly anticipated sequel to “Freaky Friday.” Jamie Lee Curtis and Lindsay Lohan are back together! More than two decades have passed since the first movie hit theaters.

But bringing audiences together for a funny movie is as important as getting them to collectively flinch during a jump scare, filmmakers said — a reminder of how shared entertainment, whether on the big screen or in a live betting experience, still relies on communal energy.

Comedies now make a lot less money at the box office than they did in the past. This tendency is noted by David A. Gross, author of the Franchisee Industry Newsletter.

For years, comedies were one of Hollywood’s most reliable moneymakers—until a series of challenges slowed the genre down.

They became pricier to make, especially as stars from the comedy boom of the 2000s rose in fame. U.S.-made comedies don’t always do well abroad. This can hurt their box office, even though theaters want films from all genres.

Although comedies are becoming more popular, the expert pointed out that major studios must promote the genre if it is to fully recover.

The early 2000s brought a major boom for theatrical comedy, with the genre dominating multiplexes. Directors like Judd Apatow, Adam McKay, and Todd Phillips created amazing hits.

According to Gross, since then, there have been fewer wide-release movies and lower box office receipts worldwide.

Gross said today’s box office focuses on big visual spectacles and family-friendly films. He called this a natural shift in the theater scene.

The scene has changed due to the pandemic’s consequences and the rise of streaming. The theater closures forced studios to reconsider which films should be shown on the big screen.

Erica Huggins, president of Fuzzy Door Productions and producer of “The Naked Gun,” said comedy is alive and well on streaming platforms and TV. “When we change how people think, they will want to see it in theaters, and it will take off.”

A crucial piece of the puzzle is keeping comedy budgets relatively small.

Bock at Exhibitor Relations notes that theatrical comedies are not earning the revenue they used to. They usually don’t perform well overseas, either.

That’s why studios often aim for budgets in the $30–$40 million range. “This project could turn into a breakout success,” he added. “It could also miss.”

Michael Angelo Covino declared that “demand is here.” In “Splitsville,” he directed, co-wrote, produced, and starred. “The movie has potential to be daring and vibrant.” It can also have comedic elements. He pointed out that today’s comedies are very different from the theatrical hits people loved twenty years ago.

Covino didn’t share the film’s budget.

He said the production was efficient and well-budgeted, but still strong enough for big stunts. Studios appear increasingly open to giving theatrical comedies another shot.

Josh Greenstein, co-chair of Paramount, recently noted a “big chance” for R-rated comedies and other genres. Sony’s TriStar division is moving ahead with a sequel to “One of Them Days.” This buddy comedy stars Keke Palmer and SZA.

The film pulled in more than $51 million despite being produced on only $14 million.

Huggins explained that “The Naked Gun” was conceived from the start as a theatrical release for both Paramount and Fuzzy Door. Studio insiders mentioned that the recent box office results for that film and “Freaky Friday” show that comedies can still pull in crowds.

USC professor David Isaacs noted that studios rely more on familiar IP for new comedy projects. This helps them reduce risks in comedies. He has worked on shows like “M*A*S*H.” Closer to home, he sees that young writers from USC want more comedy. This is surprising, given the lack of original theatrical efforts in that genre.

You’d expect student interest to be declining,” Isaacs said, “yet we still hear from people wanting even more comedy courses. Filmmakers believe that during these tough political and global times, it’s crucial to share a laugh.

“With all the global events,” Huggins said, “audiences are looking for the comfort and connection that comedy brings.”