Black Sheep (1996)
| Theatrical Performance | ||
| Domestic Box Office | $32,330,354 | Details |
| OpusData ID: 17550100 More info... | ||
| Further financial details... | ||
Metrics
| Opening Weekend: | $10,593,609 (32.8% of total gross) |
| Legs: | 3.05 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 2,045 opening theaters/2,092 max. theaters, 6.0 weeks average run per theater |
| Infl. Adj. Dom. BO | $82,727,662 |
Movie Details
| Domestic Releases: | February 2nd, 1996 (Wide) by Paramount Pictures |
| Video Release: | July 16th, 2002 by Paramount Home Video |
| MPA Rating: | PG-13 for crude language and humor, drug-related material and sexual innuendo |
| Running Time: | 87 minutes |
| Plot point: | Dysfunctional Family, Political, Road Trip |
| Social setting: | Political Campaign |
| Subgenre: | Buddy Comedy |
| Source: | Original Screenplay |
| Genre: | Comedy |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Paramount Pictures, Lorne Michaels |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Feb 2, 1996 | 1 | $10,593,609 | 2,045 | $5,180 | $10,593,609 | 1 | |
| Feb 9, 1996 | 3 | $6,484,917 | -39% | 2,092 | $3,100 | $19,276,912 | 2 |
| Feb 16, 1996 | 7 | $4,822,918 | -26% | 2,092 | $2,305 | $25,586,625 | 3 |
| Feb 23, 1996 | 12 | $2,004,667 | -58% | 1,911 | $1,049 | $28,406,869 | 4 |
| Mar 1, 1996 | 15 | $1,023,020 | -49% | 1,317 | $777 | $29,823,727 | 5 |
| Mar 8, 1996 | 21 | $553,528 | -46% | 913 | $606 | $30,604,118 | 6 |
| Mar 15, 1996 | 31 | $227,030 | -59% | 506 | $449 | $30,970,879 | 7 |
| Mar 22, 1996 | 38 | $121,359 | -47% | 307 | $395 | $31,155,158 | 8 |
| Apr 5, 1996 | 49 | $39,514 | 95 | $416 | $31,283,018 | 10 | |
| Apr 12, 1996 | 54 | $36,218 | -8% | 75 | $483 | $31,329,072 | 11 |
| Apr 26, 1996 | 21 | $358,158 | 530 | $676 | $31,718,528 | 13 | |
| May 3, 1996 | 31 | $178,125 | -50% | 364 | $489 | $32,013,655 | 14 |
| May 10, 1996 | 39 | $101,049 | -43% | 221 | $457 | $32,166,240 | 15 |
| May 17, 1996 | 47 | $60,045 | -41% | 110 | $546 | $32,258,130 | 16 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Feb 2, 1996 | 1 | $12,791,995 | 2,045 | $6,255 | $12,791,995 | 1 | |
| Feb 9, 1996 | 4 | $7,971,712 | -38% | 2,092 | $3,811 | $20,763,707 | 2 |
| Feb 16, 1996 | 7 | $5,638,495 | -29% | 2,092 | $2,695 | $26,402,202 | 3 |
| Feb 23, 1996 | 13 | $2,398,505 | -57% | 1,911 | $1,255 | $28,800,707 | 4 |
| Mar 1, 1996 | 15 | $1,249,883 | -48% | 1,317 | $949 | $30,050,590 | 5 |
| Mar 8, 1996 | 24 | $693,259 | -45% | 913 | $759 | $30,743,849 | 6 |
| Mar 15, 1996 | 30 | $289,950 | -58% | 506 | $573 | $31,033,799 | 7 |
| Apr 5, 1996 | 48 | $49,350 | 95 | $519 | $31,292,854 | 10 | |
| Apr 26, 1996 | 22 | $475,160 | 530 | $897 | $31,835,530 | 13 | |
| May 3, 1996 | 32 | $229,661 | -52% | 364 | $631 | $32,065,191 | 14 |
| May 10, 1996 | 40 | $132,894 | -42% | 221 | $601 | $32,198,085 | 15 |
Leading
| Chris Farley | Mike Donnelly | |
| David Spade | Steve Dodds |
Supporting
| Tim Matheson | Al Donnelly | |
| Christine Ebersole | Gov. Tracy | |
| Gary Busey | Drake Sabitch | |
| Grant Heslov | Robbie Mieghem | |
| Timothy Carhart | Roger Kovary | |
| Bruce McGill | Neuschwender | |
| Michael Patrick Carter | Scott Colleary | |
| Boyd Banks | Clyde Spinoza | |
| David St. James | Motorcycle Cop | |
| Chris Owen | Hal |
Production and Technical Credits
| Penelope Spheeris | Director | |
| Lorne Michaels | Producer | |
| Fred Wolf | Screenwriter | |
| Robert K. Weiss | Executive Producer | |
| C.O. Erickson | Executive Producer | |
| Daryn Okada | Director of Photography | |
| Peter Jamison | Production Designer | |
| Ross Albert | Editor | |
| William Ross | Composer | |
| Jill Ohanneson | Costume Designer |
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: | $10,593,609 (32.8% of total gross) |
| Legs: | 3.05 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 2,045 opening theaters/2,092 max. theaters, 6.0 weeks average run per theater |
| Infl. Adj. Dom. BO | $82,727,662 |
Movie Details
| Domestic Releases: | February 2nd, 1996 (Wide) by Paramount Pictures |
| Video Release: | July 16th, 2002 by Paramount Home Video |
| MPA Rating: | PG-13 for crude language and humor, drug-related material and sexual innuendo |
| Running Time: | 87 minutes |
| Plot point: | Dysfunctional Family, Political, Road Trip |
| Social setting: | Political Campaign |
| Subgenre: | Buddy Comedy |
| Source: | Original Screenplay |
| Genre: | Comedy |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
| Production/Financing Companies: | Paramount Pictures, Lorne Michaels |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Feb 2, 1996 | 1 | $10,593,609 | 2,045 | $5,180 | $10,593,609 | 1 | |
| Feb 9, 1996 | 3 | $6,484,917 | -39% | 2,092 | $3,100 | $19,276,912 | 2 |
| Feb 16, 1996 | 7 | $4,822,918 | -26% | 2,092 | $2,305 | $25,586,625 | 3 |
| Feb 23, 1996 | 12 | $2,004,667 | -58% | 1,911 | $1,049 | $28,406,869 | 4 |
| Mar 1, 1996 | 15 | $1,023,020 | -49% | 1,317 | $777 | $29,823,727 | 5 |
| Mar 8, 1996 | 21 | $553,528 | -46% | 913 | $606 | $30,604,118 | 6 |
| Mar 15, 1996 | 31 | $227,030 | -59% | 506 | $449 | $30,970,879 | 7 |
| Mar 22, 1996 | 38 | $121,359 | -47% | 307 | $395 | $31,155,158 | 8 |
| Apr 5, 1996 | 49 | $39,514 | 95 | $416 | $31,283,018 | 10 | |
| Apr 12, 1996 | 54 | $36,218 | -8% | 75 | $483 | $31,329,072 | 11 |
| Apr 26, 1996 | 21 | $358,158 | 530 | $676 | $31,718,528 | 13 | |
| May 3, 1996 | 31 | $178,125 | -50% | 364 | $489 | $32,013,655 | 14 |
| May 10, 1996 | 39 | $101,049 | -43% | 221 | $457 | $32,166,240 | 15 |
| May 17, 1996 | 47 | $60,045 | -41% | 110 | $546 | $32,258,130 | 16 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Feb 2, 1996 | 1 | $12,791,995 | 2,045 | $6,255 | $12,791,995 | 1 | |
| Feb 9, 1996 | 4 | $7,971,712 | -38% | 2,092 | $3,811 | $20,763,707 | 2 |
| Feb 16, 1996 | 7 | $5,638,495 | -29% | 2,092 | $2,695 | $26,402,202 | 3 |
| Feb 23, 1996 | 13 | $2,398,505 | -57% | 1,911 | $1,255 | $28,800,707 | 4 |
| Mar 1, 1996 | 15 | $1,249,883 | -48% | 1,317 | $949 | $30,050,590 | 5 |
| Mar 8, 1996 | 24 | $693,259 | -45% | 913 | $759 | $30,743,849 | 6 |
| Mar 15, 1996 | 30 | $289,950 | -58% | 506 | $573 | $31,033,799 | 7 |
| Apr 5, 1996 | 48 | $49,350 | 95 | $519 | $31,292,854 | 10 | |
| Apr 26, 1996 | 22 | $475,160 | 530 | $897 | $31,835,530 | 13 | |
| May 3, 1996 | 32 | $229,661 | -52% | 364 | $631 | $32,065,191 | 14 |
| May 10, 1996 | 40 | $132,894 | -42% | 221 | $601 | $32,198,085 | 15 |
Leading
| Chris Farley | Mike Donnelly | |
| David Spade | Steve Dodds |
Supporting
| Tim Matheson | Al Donnelly | |
| Christine Ebersole | Gov. Tracy | |
| Gary Busey | Drake Sabitch | |
| Grant Heslov | Robbie Mieghem | |
| Timothy Carhart | Roger Kovary | |
| Bruce McGill | Neuschwender | |
| Michael Patrick Carter | Scott Colleary | |
| Boyd Banks | Clyde Spinoza | |
| David St. James | Motorcycle Cop | |
| Chris Owen | Hal |
Production and Technical Credits
| Penelope Spheeris | Director | |
| Lorne Michaels | Producer | |
| Fred Wolf | Screenwriter | |
| Robert K. Weiss | Executive Producer | |
| C.O. Erickson | Executive Producer | |
| Daryn Okada | Director of Photography | |
| Peter Jamison | Production Designer | |
| Ross Albert | Editor | |
| William Ross | Composer | |
| Jill Ohanneson | Costume Designer |
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.