Executive Decision (1996)
| Theatrical Performance | ||
| Domestic Box Office | $56,679,192 | Details |
| International Box Office | $65,400,000 | |
| Worldwide Box Office | $122,079,192 | |
| OpusData ID: 9420100 More info... | ||
| Further financial details... | ||
Metrics
| Opening Weekend: | $12,069,780 (21.3% of total gross) |
| Legs: | 4.70 (domestic box office/biggest weekend) |
| Domestic Share: | 46.4% (domestic box office/worldwide) |
| Production Budget: | $55,000,000 (worldwide box office is 2.2 times production budget) |
| Theater counts: | 2,232 opening theaters/2,289 max. theaters, 7.6 weeks average run per theater |
| Infl. Adj. Dom. BO | $145,032,043 |
Movie Details
| Domestic Releases: | March 15th, 1996 (Wide) by Warner Bros. |
| MPA Rating: | R for violence and brief language R for violence (Rating bulletin 2169, 4/27/2011) |
| Running Time: | 133 minutes |
| Plot point: | Hostage, Rescue, Sleeper Agent, Special Ops, Weapons of Mass Destruction |
| Social setting: | In a Plane |
| Subgenre: | Action Thriller |
| Source: | Original Screenplay |
| Genre: | Thriller/Suspense |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Silver Pictures |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 15, 1996 | 2 | $12,069,780 | 2,232 | $5,408 | $12,069,780 | 1 | |
| Mar 22, 1996 | 2 | $9,776,225 | -19% | 2,289 | $4,271 | $26,047,638 | 2 |
| Mar 29, 1996 | 3 | $6,914,769 | -29% | 2,289 | $3,021 | $35,800,429 | 3 |
| Apr 5, 1996 | 5 | $4,838,155 | -30% | 2,285 | $2,117 | $42,852,311 | 4 |
| Apr 12, 1996 | 7 | $3,072,312 | -36% | 2,082 | $1,476 | $47,755,379 | 5 |
| Apr 19, 1996 | 11 | $1,795,816 | -42% | 1,543 | $1,164 | $50,531,998 | 6 |
| Apr 26, 1996 | 15 | $878,910 | -51% | 1,240 | $709 | $51,969,820 | 7 |
| May 3, 1996 | 23 | $348,094 | -60% | 640 | $544 | $52,635,553 | 8 |
| May 10, 1996 | 29 | $202,827 | -42% | 260 | $780 | $52,955,317 | 9 |
| May 17, 1996 | 9 | $1,026,681 | +406% | 827 | $1,241 | $54,055,567 | 10 |
| May 24, 1996 | 11 | $804,222 | -22% | 627 | $1,283 | $55,141,839 | 11 |
| May 31, 1996 | 13 | $414,990 | -48% | 479 | $866 | $55,719,707 | 12 |
| Jun 7, 1996 | 17 | $293,744 | -29% | 353 | $832 | $56,167,250 | 13 |
| Jun 14, 1996 | 21 | $183,020 | -38% | 220 | $832 | $56,472,312 | 14 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 15, 1996 | 2 | $16,271,413 | 2,232 | $7,290 | $16,271,413 | 1 | |
| Mar 22, 1996 | 3 | $12,614,247 | -22% | 2,289 | $5,511 | $28,885,660 | 2 |
| Mar 29, 1996 | 3 | $9,128,496 | -28% | 2,289 | $3,988 | $38,014,156 | 3 |
| Apr 5, 1996 | 5 | $6,668,911 | -27% | 2,285 | $2,919 | $44,683,067 | 4 |
| Apr 12, 1996 | 6 | $4,053,115 | -39% | 2,082 | $1,947 | $48,736,182 | 5 |
| Apr 19, 1996 | 10 | $2,354,728 | -42% | 1,543 | $1,526 | $51,090,910 | 6 |
| Apr 26, 1996 | 15 | $1,196,549 | -49% | 1,240 | $965 | $52,287,459 | 7 |
| May 3, 1996 | 22 | $465,031 | -61% | 640 | $727 | $52,752,490 | 8 |
| May 10, 1996 | 29 | $276,396 | -41% | 260 | $1,063 | $53,028,886 | 9 |
| May 17, 1996 | 9 | $1,308,731 | +373% | 827 | $1,583 | $54,337,617 | 10 |
| May 24, 1996 | 10 | $967,100 | -26% | 627 | $1,542 | $55,304,717 | 11 |
| May 31, 1996 | 13 | $568,789 | -41% | 479 | $1,187 | $55,873,506 | 12 |
| Jun 7, 1996 | 18 | $415,786 | -27% | 353 | $1,178 | $56,289,292 | 13 |
Supporting
| B.D. Wong | Sergeant Louie | |
| J.T. Walsh | Senator Mavros | |
| Oliver Platt | Cahill | |
| Joe Morton | Cappy |
Leading
| Kurt Russell | David Grant |
Supporting
| John Leguizamo | Rat | |
| Halle Berry | Jean |
Leading
| Steven Seagal | Lt. Colonel Austin Travis |
| Ahmed Ahmed | Terrorist #4 |
Supporting
| Ingo Neuhaus | Doc |
Production and Technical Credits
| Stuart Baird | Director | |
| Jim Thomas | Screenwriter | |
| John Thomas | Screenwriter | |
| Jerry Goldsmith | Composer |
Cast and crew with above-the-line roles are marked in bold. The line marks the division between above-the-line and below-the-line roles.
Metrics
| Opening Weekend: | $12,069,780 (21.3% of total gross) |
| Legs: | 4.70 (domestic box office/biggest weekend) |
| Domestic Share: | 46.4% (domestic box office/worldwide) |
| Production Budget: | $55,000,000 (worldwide box office is 2.2 times production budget) |
| Theater counts: | 2,232 opening theaters/2,289 max. theaters, 7.6 weeks average run per theater |
| Infl. Adj. Dom. BO | $145,032,043 |
Movie Details
| Domestic Releases: | March 15th, 1996 (Wide) by Warner Bros. |
| MPA Rating: | R for violence and brief language R for violence (Rating bulletin 2169, 4/27/2011) |
| Running Time: | 133 minutes |
| Plot point: | Hostage, Rescue, Sleeper Agent, Special Ops, Weapons of Mass Destruction |
| Social setting: | In a Plane |
| Subgenre: | Action Thriller |
| Source: | Original Screenplay |
| Genre: | Thriller/Suspense |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Silver Pictures |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 15, 1996 | 2 | $12,069,780 | 2,232 | $5,408 | $12,069,780 | 1 | |
| Mar 22, 1996 | 2 | $9,776,225 | -19% | 2,289 | $4,271 | $26,047,638 | 2 |
| Mar 29, 1996 | 3 | $6,914,769 | -29% | 2,289 | $3,021 | $35,800,429 | 3 |
| Apr 5, 1996 | 5 | $4,838,155 | -30% | 2,285 | $2,117 | $42,852,311 | 4 |
| Apr 12, 1996 | 7 | $3,072,312 | -36% | 2,082 | $1,476 | $47,755,379 | 5 |
| Apr 19, 1996 | 11 | $1,795,816 | -42% | 1,543 | $1,164 | $50,531,998 | 6 |
| Apr 26, 1996 | 15 | $878,910 | -51% | 1,240 | $709 | $51,969,820 | 7 |
| May 3, 1996 | 23 | $348,094 | -60% | 640 | $544 | $52,635,553 | 8 |
| May 10, 1996 | 29 | $202,827 | -42% | 260 | $780 | $52,955,317 | 9 |
| May 17, 1996 | 9 | $1,026,681 | +406% | 827 | $1,241 | $54,055,567 | 10 |
| May 24, 1996 | 11 | $804,222 | -22% | 627 | $1,283 | $55,141,839 | 11 |
| May 31, 1996 | 13 | $414,990 | -48% | 479 | $866 | $55,719,707 | 12 |
| Jun 7, 1996 | 17 | $293,744 | -29% | 353 | $832 | $56,167,250 | 13 |
| Jun 14, 1996 | 21 | $183,020 | -38% | 220 | $832 | $56,472,312 | 14 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 15, 1996 | 2 | $16,271,413 | 2,232 | $7,290 | $16,271,413 | 1 | |
| Mar 22, 1996 | 3 | $12,614,247 | -22% | 2,289 | $5,511 | $28,885,660 | 2 |
| Mar 29, 1996 | 3 | $9,128,496 | -28% | 2,289 | $3,988 | $38,014,156 | 3 |
| Apr 5, 1996 | 5 | $6,668,911 | -27% | 2,285 | $2,919 | $44,683,067 | 4 |
| Apr 12, 1996 | 6 | $4,053,115 | -39% | 2,082 | $1,947 | $48,736,182 | 5 |
| Apr 19, 1996 | 10 | $2,354,728 | -42% | 1,543 | $1,526 | $51,090,910 | 6 |
| Apr 26, 1996 | 15 | $1,196,549 | -49% | 1,240 | $965 | $52,287,459 | 7 |
| May 3, 1996 | 22 | $465,031 | -61% | 640 | $727 | $52,752,490 | 8 |
| May 10, 1996 | 29 | $276,396 | -41% | 260 | $1,063 | $53,028,886 | 9 |
| May 17, 1996 | 9 | $1,308,731 | +373% | 827 | $1,583 | $54,337,617 | 10 |
| May 24, 1996 | 10 | $967,100 | -26% | 627 | $1,542 | $55,304,717 | 11 |
| May 31, 1996 | 13 | $568,789 | -41% | 479 | $1,187 | $55,873,506 | 12 |
| Jun 7, 1996 | 18 | $415,786 | -27% | 353 | $1,178 | $56,289,292 | 13 |
Supporting
| B.D. Wong | Sergeant Louie | |
| J.T. Walsh | Senator Mavros | |
| Oliver Platt | Cahill | |
| Joe Morton | Cappy |
Leading
| Kurt Russell | David Grant |
Supporting
| John Leguizamo | Rat | |
| Halle Berry | Jean |
Leading
| Steven Seagal | Lt. Colonel Austin Travis |
| Ahmed Ahmed | Terrorist #4 |
Supporting
| Ingo Neuhaus | Doc |
Production and Technical Credits
| Stuart Baird | Director | |
| Jim Thomas | Screenwriter | |
| John Thomas | Screenwriter | |
| Jerry Goldsmith | Composer |
Cast and crew with above-the-line roles are marked in bold. The line marks the division between above-the-line and below-the-line roles.