Flirting with Disaster (1996)
| Theatrical Performance | ||
| Domestic Box Office | $14,853,474 | Details |
| International Box Office | $1,295,706 | |
| Worldwide Box Office | $16,149,180 | |
| OpusData ID: 30480100 More info... | ||
| Further financial details... | ||
Metrics
| Opening Weekend: | $164,458 (1.1% of total gross) |
| Legs: | 4.92 (domestic box office/biggest weekend) |
| Domestic Share: | 92.0% (domestic box office/worldwide) |
| Production Budget: | $7,000,000 (worldwide box office is 2.3 times production budget) |
| Theater counts: | 7 opening theaters/969 max. theaters, 4.9 weeks average run per theater |
| Infl. Adj. Dom. BO | $38,007,413 |
Movie Details
| Domestic Releases: | March 22nd, 1996 (Wide) by Miramax |
| Video Release: | November 4th, 1997 by Walt Disney Home Entertainment |
| MPA Rating: | R for language, sexuality and a comic drug scene |
| Plot point: | Adopted Family Seeking Reunion, Dysfunctional Family, Relationships Gone Wrong, Road Trip |
| Subgenre: | Farcical / Slapstick Comedy |
| Source: | Original Screenplay |
| Genre: | Comedy |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 22, 1996 | 35 | $164,458 | 7 | $23,494 | $164,458 | 1 | |
| Mar 29, 1996 | 18 | $705,899 | +329% | 70 | $10,084 | $936,673 | 2 |
| Apr 5, 1996 | 10 | $1,766,054 | +150% | 285 | $6,197 | $2,959,743 | 3 |
| Apr 12, 1996 | 8 | $3,021,024 | +71% | 969 | $3,118 | $6,598,430 | 4 |
| Apr 19, 1996 | 10 | $2,028,781 | -33% | 969 | $2,094 | $9,379,053 | 5 |
| Apr 26, 1996 | 13 | $1,015,992 | -50% | 621 | $1,636 | $10,877,355 | 6 |
| May 3, 1996 | 19 | $665,872 | -34% | 326 | $2,043 | $11,844,179 | 7 |
| May 10, 1996 | 19 | $500,673 | -25% | 323 | $1,550 | $12,558,596 | 8 |
| May 17, 1996 | 19 | $441,759 | -12% | 345 | $1,280 | $13,182,127 | 9 |
| May 24, 1996 | 22 | $340,929 | -23% | 169 | $2,017 | $13,671,068 | 10 |
| May 31, 1996 | 27 | $161,598 | -53% | 124 | $1,303 | $13,901,338 | 11 |
| Jun 7, 1996 | 28 | $134,724 | -17% | 102 | $1,321 | $14,112,683 | 12 |
| Jun 14, 1996 | 36 | $74,769 | -45% | 75 | $997 | $14,249,985 | 13 |
| Jun 21, 1996 | 24 | $213,139 | +185% | 255 | $836 | $14,510,390 | 14 |
| Jun 28, 1996 | 31 | $97,156 | -54% | 103 | $943 | $14,702,438 | 15 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 22, 1996 | 35 | $230,774 | 7 | $32,968 | $230,774 | 1 | |
| Mar 29, 1996 | 18 | $962,915 | +317% | 70 | $13,756 | $1,193,689 | 2 |
| Apr 5, 1996 | 11 | $2,383,717 | +148% | 285 | $8,364 | $3,577,406 | 3 |
| Apr 12, 1996 | 7 | $3,772,866 | +58% | 969 | $3,894 | $7,350,272 | 4 |
| Apr 19, 1996 | 9 | $2,511,091 | -33% | 969 | $2,591 | $9,861,363 | 5 |
| Apr 26, 1996 | 13 | $1,316,944 | -48% | 621 | $2,121 | $11,178,307 | 6 |
| May 3, 1996 | 18 | $879,616 | -33% | 326 | $2,698 | $12,057,923 | 7 |
| May 10, 1996 | 19 | $682,445 | -22% | 323 | $2,113 | $12,740,368 | 8 |
| May 17, 1996 | 19 | $589,771 | -14% | 345 | $1,709 | $13,330,139 | 9 |
| May 24, 1996 | 21 | $409,601 | -31% | 169 | $2,424 | $13,739,740 | 10 |
| May 31, 1996 | 29 | $238,219 | -42% | 124 | $1,921 | $13,977,959 | 11 |
| Jun 7, 1996 | 29 | $197,257 | -17% | 102 | $1,934 | $14,175,216 | 12 |
| Jun 14, 1996 | 32 | $122,035 | -38% | 75 | $1,627 | $14,297,251 | 13 |
| Jun 21, 1996 | 24 | $308,031 | +152% | 255 | $1,208 | $14,605,282 | 14 |
| Patricia Arquette | Nancy Coplin | |
| Téa Leoni | Tina Kalb | |
| Josh Brolin | Tony |
Leading
| Ben Stiller | Mel Coplin |
| Alan Alda | Richard Schlichting | |
| Lily Tomlin | Mary Schlichting | |
| Richard Jenkins | Paul | |
| Mary Tyler Moore | Mrs. Coplin | |
| David Patrick Kelly | Fritz Boudreau | |
| George Segal | Mr. Coplin |
Production and Technical Credits
| David O. Russell | Director | |
| David O. Russell | Screenwriter | |
| Harvey Weinstein | Executive Producer | |
| Bob Weinstein | Executive Producer | |
| Bonnie Greenberg | Music Supervisor |
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: | $164,458 (1.1% of total gross) |
| Legs: | 4.92 (domestic box office/biggest weekend) |
| Domestic Share: | 92.0% (domestic box office/worldwide) |
| Production Budget: | $7,000,000 (worldwide box office is 2.3 times production budget) |
| Theater counts: | 7 opening theaters/969 max. theaters, 4.9 weeks average run per theater |
| Infl. Adj. Dom. BO | $38,007,413 |
Movie Details
| Domestic Releases: | March 22nd, 1996 (Wide) by Miramax |
| Video Release: | November 4th, 1997 by Walt Disney Home Entertainment |
| MPA Rating: | R for language, sexuality and a comic drug scene |
| Plot point: | Adopted Family Seeking Reunion, Dysfunctional Family, Relationships Gone Wrong, Road Trip |
| Subgenre: | Farcical / Slapstick Comedy |
| Source: | Original Screenplay |
| Genre: | Comedy |
| Production Method: | Live Action |
| Creative Type: | Contemporary Fiction |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 22, 1996 | 35 | $164,458 | 7 | $23,494 | $164,458 | 1 | |
| Mar 29, 1996 | 18 | $705,899 | +329% | 70 | $10,084 | $936,673 | 2 |
| Apr 5, 1996 | 10 | $1,766,054 | +150% | 285 | $6,197 | $2,959,743 | 3 |
| Apr 12, 1996 | 8 | $3,021,024 | +71% | 969 | $3,118 | $6,598,430 | 4 |
| Apr 19, 1996 | 10 | $2,028,781 | -33% | 969 | $2,094 | $9,379,053 | 5 |
| Apr 26, 1996 | 13 | $1,015,992 | -50% | 621 | $1,636 | $10,877,355 | 6 |
| May 3, 1996 | 19 | $665,872 | -34% | 326 | $2,043 | $11,844,179 | 7 |
| May 10, 1996 | 19 | $500,673 | -25% | 323 | $1,550 | $12,558,596 | 8 |
| May 17, 1996 | 19 | $441,759 | -12% | 345 | $1,280 | $13,182,127 | 9 |
| May 24, 1996 | 22 | $340,929 | -23% | 169 | $2,017 | $13,671,068 | 10 |
| May 31, 1996 | 27 | $161,598 | -53% | 124 | $1,303 | $13,901,338 | 11 |
| Jun 7, 1996 | 28 | $134,724 | -17% | 102 | $1,321 | $14,112,683 | 12 |
| Jun 14, 1996 | 36 | $74,769 | -45% | 75 | $997 | $14,249,985 | 13 |
| Jun 21, 1996 | 24 | $213,139 | +185% | 255 | $836 | $14,510,390 | 14 |
| Jun 28, 1996 | 31 | $97,156 | -54% | 103 | $943 | $14,702,438 | 15 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Mar 22, 1996 | 35 | $230,774 | 7 | $32,968 | $230,774 | 1 | |
| Mar 29, 1996 | 18 | $962,915 | +317% | 70 | $13,756 | $1,193,689 | 2 |
| Apr 5, 1996 | 11 | $2,383,717 | +148% | 285 | $8,364 | $3,577,406 | 3 |
| Apr 12, 1996 | 7 | $3,772,866 | +58% | 969 | $3,894 | $7,350,272 | 4 |
| Apr 19, 1996 | 9 | $2,511,091 | -33% | 969 | $2,591 | $9,861,363 | 5 |
| Apr 26, 1996 | 13 | $1,316,944 | -48% | 621 | $2,121 | $11,178,307 | 6 |
| May 3, 1996 | 18 | $879,616 | -33% | 326 | $2,698 | $12,057,923 | 7 |
| May 10, 1996 | 19 | $682,445 | -22% | 323 | $2,113 | $12,740,368 | 8 |
| May 17, 1996 | 19 | $589,771 | -14% | 345 | $1,709 | $13,330,139 | 9 |
| May 24, 1996 | 21 | $409,601 | -31% | 169 | $2,424 | $13,739,740 | 10 |
| May 31, 1996 | 29 | $238,219 | -42% | 124 | $1,921 | $13,977,959 | 11 |
| Jun 7, 1996 | 29 | $197,257 | -17% | 102 | $1,934 | $14,175,216 | 12 |
| Jun 14, 1996 | 32 | $122,035 | -38% | 75 | $1,627 | $14,297,251 | 13 |
| Jun 21, 1996 | 24 | $308,031 | +152% | 255 | $1,208 | $14,605,282 | 14 |
| Patricia Arquette | Nancy Coplin | |
| Téa Leoni | Tina Kalb | |
| Josh Brolin | Tony |
Leading
| Ben Stiller | Mel Coplin |
| Alan Alda | Richard Schlichting | |
| Lily Tomlin | Mary Schlichting | |
| Richard Jenkins | Paul | |
| Mary Tyler Moore | Mrs. Coplin | |
| David Patrick Kelly | Fritz Boudreau | |
| George Segal | Mr. Coplin |
Production and Technical Credits
| David O. Russell | Director | |
| David O. Russell | Screenwriter | |
| Harvey Weinstein | Executive Producer | |
| Bob Weinstein | Executive Producer | |
| Bonnie Greenberg | Music Supervisor |
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.