Blue in the Face (1995)
| Theatrical Performance | ||
| Domestic Box Office | $1,275,000 | Details |
| OpusData ID: 59380100 More info... | ||
| Further financial details... | ||
Metrics
| Opening Weekend: | $104,365 (8.2% of total gross) |
| Legs: | 6.22 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 16 opening theaters/76 max. theaters, 6.1 weeks average run per theater |
| Infl. Adj. Dom. BO | $3,314,995 |
Movie Details
| Domestic Releases: | October 13th, 1995 (Wide) by Miramax |
| Video Release: | June 10th, 1997 by Walt Disney Home Entertainment |
| MPA Rating: | R for language and a scene of nudity |
| Running Time: | 89 minutes |
| Franchise: | Smoke |
| Source: | Original Screenplay |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Oct 13, 1995 | 36 | $104,365 | 16 | $6,523 | $104,365 | 1 | |
| Oct 20, 1995 | 27 | $205,090 | +97% | 58 | $3,536 | $360,233 | 2 |
| Oct 27, 1995 | 34 | $148,243 | -28% | 75 | $1,977 | $586,336 | 3 |
| Nov 3, 1995 | 35 | $132,259 | -11% | 76 | $1,740 | $780,494 | 4 |
| Nov 10, 1995 | 38 | $107,801 | -18% | 66 | $1,633 | $938,531 | 5 |
| Nov 17, 1995 | 40 | $61,846 | -43% | 48 | $1,288 | $1,038,413 | 6 |
| Nov 24, 1995 | 44 | $54,317 | -12% | 38 | $1,429 | $1,123,274 | 7 |
| Dec 1, 1995 | 40 | $43,910 | -19% | 34 | $1,291 | $1,184,150 | 8 |
| Dec 8, 1995 | 40 | $30,929 | -30% | 26 | $1,190 | $1,230,572 | 9 |
| Dec 15, 1995 | 47 | $19,973 | -35% | 27 | $740 | $1,260,496 | 10 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Oct 13, 1995 | 33 | $155,143 | 16 | $9,696 | $155,143 | 1 | |
| Oct 20, 1995 | 27 | $282,950 | +82% | 58 | $4,878 | $438,093 | 2 |
| Oct 27, 1995 | 32 | $210,142 | -26% | 75 | $2,802 | $648,235 | 3 |
| Nov 3, 1995 | 36 | $182,495 | -13% | 76 | $2,401 | $830,730 | 4 |
| Nov 10, 1995 | 37 | $145,837 | -20% | 66 | $2,210 | $976,567 | 5 |
| Nov 17, 1995 | 42 | $92,390 | -37% | 48 | $1,925 | $1,068,957 | 6 |
| Nov 24, 1995 | 42 | $71,283 | -23% | 38 | $1,876 | $1,140,240 | 7 |
| Dec 1, 1995 | 35 | $59,403 | -17% | 34 | $1,747 | $1,199,643 | 8 |
| Dec 8, 1995 | 41 | $40,880 | -31% | 26 | $1,572 | $1,240,523 | 9 |
| Madonna | Singing Telegram | |
| Mira Sorvino | The young lady | |
| Harvey Keitel | Auggie Wren | |
| Keith David | Jackie Robinson | |
| RuPaul Charles | Dancer | |
| Roseanne | Vinnie's Wife | |
| Lily Tomlin | The waffle eater | |
| Jared Harris | Jimmy Rose | |
| Lou Reed | Man with Strange Glasses | |
| Jim Jarmusch | Bob | |
| Giancarlo Esposito | Tommy Finelli | |
| Malik Yoba | The Watch Man |
Supporting
| Michael J. Fox | Pete Maloney |
Production and Technical Credits
| Wayne Wang | Director | |
| Harvey Weinstein | Executive Producer | |
| Bob Weinstein | Executive Producer |
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: | $104,365 (8.2% of total gross) |
| Legs: | 6.22 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 16 opening theaters/76 max. theaters, 6.1 weeks average run per theater |
| Infl. Adj. Dom. BO | $3,314,995 |
Movie Details
| Domestic Releases: | October 13th, 1995 (Wide) by Miramax |
| Video Release: | June 10th, 1997 by Walt Disney Home Entertainment |
| MPA Rating: | R for language and a scene of nudity |
| Running Time: | 89 minutes |
| Franchise: | Smoke |
| Source: | Original Screenplay |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Oct 13, 1995 | 36 | $104,365 | 16 | $6,523 | $104,365 | 1 | |
| Oct 20, 1995 | 27 | $205,090 | +97% | 58 | $3,536 | $360,233 | 2 |
| Oct 27, 1995 | 34 | $148,243 | -28% | 75 | $1,977 | $586,336 | 3 |
| Nov 3, 1995 | 35 | $132,259 | -11% | 76 | $1,740 | $780,494 | 4 |
| Nov 10, 1995 | 38 | $107,801 | -18% | 66 | $1,633 | $938,531 | 5 |
| Nov 17, 1995 | 40 | $61,846 | -43% | 48 | $1,288 | $1,038,413 | 6 |
| Nov 24, 1995 | 44 | $54,317 | -12% | 38 | $1,429 | $1,123,274 | 7 |
| Dec 1, 1995 | 40 | $43,910 | -19% | 34 | $1,291 | $1,184,150 | 8 |
| Dec 8, 1995 | 40 | $30,929 | -30% | 26 | $1,190 | $1,230,572 | 9 |
| Dec 15, 1995 | 47 | $19,973 | -35% | 27 | $740 | $1,260,496 | 10 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Oct 13, 1995 | 33 | $155,143 | 16 | $9,696 | $155,143 | 1 | |
| Oct 20, 1995 | 27 | $282,950 | +82% | 58 | $4,878 | $438,093 | 2 |
| Oct 27, 1995 | 32 | $210,142 | -26% | 75 | $2,802 | $648,235 | 3 |
| Nov 3, 1995 | 36 | $182,495 | -13% | 76 | $2,401 | $830,730 | 4 |
| Nov 10, 1995 | 37 | $145,837 | -20% | 66 | $2,210 | $976,567 | 5 |
| Nov 17, 1995 | 42 | $92,390 | -37% | 48 | $1,925 | $1,068,957 | 6 |
| Nov 24, 1995 | 42 | $71,283 | -23% | 38 | $1,876 | $1,140,240 | 7 |
| Dec 1, 1995 | 35 | $59,403 | -17% | 34 | $1,747 | $1,199,643 | 8 |
| Dec 8, 1995 | 41 | $40,880 | -31% | 26 | $1,572 | $1,240,523 | 9 |
| Madonna | Singing Telegram | |
| Mira Sorvino | The young lady | |
| Harvey Keitel | Auggie Wren | |
| Keith David | Jackie Robinson | |
| RuPaul Charles | Dancer | |
| Roseanne | Vinnie's Wife | |
| Lily Tomlin | The waffle eater | |
| Jared Harris | Jimmy Rose | |
| Lou Reed | Man with Strange Glasses | |
| Jim Jarmusch | Bob | |
| Giancarlo Esposito | Tommy Finelli | |
| Malik Yoba | The Watch Man |
Supporting
| Michael J. Fox | Pete Maloney |
Production and Technical Credits
| Wayne Wang | Director | |
| Harvey Weinstein | Executive Producer | |
| Bob Weinstein | Executive Producer |
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.