The Look of Love (2013)
| Theatrical Performance | ||
| Domestic Box Office | $16,119 | Details |
| International Box Office | $587,000 | Details |
| Worldwide Box Office | $603,119 | |
| OpusData ID: 193780100 More info... | ||
| Further financial details... | ||
Synopsis
“THE LOOK OF LOVE” is the true-life story of Paul Raymond, the man behind Soho’s norotious Raymond Revue Bar and Men Only magazine. Paul Raymond began his professional life with an end of the pier mind0reading act. He soon realized that the audience were more interested in watching his beautiful assistance, and that they liked it even more if she was topless. He quickly became one of Britain’s leading nude revue producers. In 1958 he opened his revue Bar in Soho, the heart of London’s West End. As it was a private club, the nudes were allowed to move. A huge success, it became the cornerstone of a Soho empire, prompting the Sunday Times in 1992 to crown him the richest man in Britain. The film focuses on Raymond’s relationships with the three most important women in his life: his wife Jean, his lover Fiona, and his daughter Debbie (Imogen Poots). It is a modern day King Midas story, with Raymond acquiring fabulous wealth, but at the cost of losing the people who are closest to him.
Metrics
| Opening Weekend: | $5,105 (31.7% of total gross) |
| Legs: | 3.16 (domestic box office/biggest weekend) |
| Domestic Share: | 2.7% (domestic box office/worldwide) |
| Theater counts: | 3 opening theaters/6 max. theaters, 1.8 weeks average run per theater |
| Infl. Adj. Dom. BO | $23,717 |
Movie Details
| Domestic Releases: | July 5th, 2013 (Limited) by IFC Films |
| International Releases: | April 26th, 2013 (Wide) (United Kingdom)
July 10th, 2014 (Wide) (Mexico) |
| MPA Rating: | Not Rated |
| Running Time: | 97 minutes |
| Plot point: | Addiction, Biography, Dysfunctional Family, Narcotics, Rags to Riches |
| Social setting: | Porn Business |
| Source: | Based on Real Life Events |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Dramatization |
| Production/Financing Companies: | StudioCanal, Film4, Anton Capital Entertainment, Lipsync Productions, Revolution Films, Baby Cow |
| Production Countries: | United Kingdom |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Jul 5, 2013 | 43 | $5,105 | 3 | $1,702 | $5,105 | 1 | |
| Jul 12, 2013 | 57 | $2,429 | -52% | 2 | $1,215 | $10,379 | 2 |
| Jul 26, 2013 | 77 | $1,842 | 6 | $307 | $14,580 | 4 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Jul 5, 2013 | 37 | $7,950 | 3 | $2,650 | $7,950 | 1 | |
| Jul 12, 2013 | 63 | $4,277 | -46% | 2 | $2,139 | $12,227 | 2 |
| Jul 26, 2013 | 69 | $3,381 | 6 | $564 | $16,119 | 4 |
Top International Territories
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens/Theaters |
Maximum Screens/Theaters |
Theatrical Engagements |
Total Box Office |
Report Date |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Mexico | 7/10/2014 | $28,630 | 35 | 35 | 62 | $70,504 | 12/17/2015 | |||
| United Kingdom | 4/26/2013 | $322,700 | 209 | 209 | 209 | $322,700 | 12/14/2015 | |||
| Rest of World | $193,796 | |||||||||
| International Total | $587,000 | 12/17/2015 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Leading
| Steve Coogan | Paul Raymond | |
| Anna Friel | Jean Raymond | |
| Imogen Poots | Debbie Raymond | |
| Tamsin Egerton | Fiona Richmond |
Supporting
| Chris Addison | Tony Power | |
| James Lance | Carl Snitcher | |
| Shirley Henderson | Rusty Humphries | |
| David Williams | Vicar Edwyn Young | |
| Matt Lucas | Divine | |
| Simon Bird | Jonathan Hodge | |
| Stephen Fry | Barrister | |
| Dara O'Briain | Comedian | |
| Kieran O'Brien | Jimmy Humphries | |
| Miles Jupp | Interviewer | |
| Peter Wight | Police Inspector | |
| Matthew Beard | Howard Raymond |
Production and Technical Credits
| Michael Winterbottom | Director | |
| Melissa Parmenter | Producer | |
| Matt Greenhalgh | Screenwriter | |
| Andrew Eaton | Executive Producer | |
| Jenny Borgars | Executive Producer | |
| Katherine Butler | Executive Producer | |
| Norman Merry | Executive Producer | |
| Danny Perkins | Executive Producer | |
| Piers Wenger | Executive Producer | |
| Josh Hyams | Co-Producer | |
| Alice Dawson | Co-Producer | |
| Mags Arnold | Editor | |
| Hubert Taczanowski | Director of Photography | |
| Antony Genn | Composer | |
| Martin Slattery | Composer | |
| Jacqueline Abrahams | Production Designer | |
| Stephanie Collie | Costume Designer | |
| Jina Jay | Casting Director | |
| Loz Schiavo | Make up | |
| Fiona Fellows | Hair Designer | |
| Joakim Sundstrom | Supervising Sound Editor | |
| Will Whale | Recordist |
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.
Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue are available through our research services. For more information, please contact us at research@the-numbers.com.
Synopsis
“THE LOOK OF LOVE” is the true-life story of Paul Raymond, the man behind Soho’s norotious Raymond Revue Bar and Men Only magazine. Paul Raymond began his professional life with an end of the pier mind0reading act. He soon realized that the audience were more interested in watching his beautiful assistance, and that they liked it even more if she was topless. He quickly became one of Britain’s leading nude revue producers. In 1958 he opened his revue Bar in Soho, the heart of London’s West End. As it was a private club, the nudes were allowed to move. A huge success, it became the cornerstone of a Soho empire, prompting the Sunday Times in 1992 to crown him the richest man in Britain. The film focuses on Raymond’s relationships with the three most important women in his life: his wife Jean, his lover Fiona, and his daughter Debbie (Imogen Poots). It is a modern day King Midas story, with Raymond acquiring fabulous wealth, but at the cost of losing the people who are closest to him.
Metrics
| Opening Weekend: | $5,105 (31.7% of total gross) |
| Legs: | 3.16 (domestic box office/biggest weekend) |
| Domestic Share: | 2.7% (domestic box office/worldwide) |
| Theater counts: | 3 opening theaters/6 max. theaters, 1.8 weeks average run per theater |
| Infl. Adj. Dom. BO | $23,717 |
Movie Details
| Domestic Releases: | July 5th, 2013 (Limited) by IFC Films |
| International Releases: | April 26th, 2013 (Wide) (United Kingdom)
July 10th, 2014 (Wide) (Mexico) |
| MPA Rating: | Not Rated |
| Running Time: | 97 minutes |
| Plot point: | Addiction, Biography, Dysfunctional Family, Narcotics, Rags to Riches |
| Social setting: | Porn Business |
| Source: | Based on Real Life Events |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Dramatization |
| Production/Financing Companies: | StudioCanal, Film4, Anton Capital Entertainment, Lipsync Productions, Revolution Films, Baby Cow |
| Production Countries: | United Kingdom |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Jul 5, 2013 | 43 | $5,105 | 3 | $1,702 | $5,105 | 1 | |
| Jul 12, 2013 | 57 | $2,429 | -52% | 2 | $1,215 | $10,379 | 2 |
| Jul 26, 2013 | 77 | $1,842 | 6 | $307 | $14,580 | 4 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Jul 5, 2013 | 37 | $7,950 | 3 | $2,650 | $7,950 | 1 | |
| Jul 12, 2013 | 63 | $4,277 | -46% | 2 | $2,139 | $12,227 | 2 |
| Jul 26, 2013 | 69 | $3,381 | 6 | $564 | $16,119 | 4 |
Top International Territories
Box Office Summary Per Territory
| Territory | Release Date |
Opening Weekend |
Opening Weekend Screens/Theaters |
Maximum Screens/Theaters |
Theatrical Engagements |
Total Box Office |
Report Date |
|||
|---|---|---|---|---|---|---|---|---|---|---|
| Mexico | 7/10/2014 | $28,630 | 35 | 35 | 62 | $70,504 | 12/17/2015 | |||
| United Kingdom | 4/26/2013 | $322,700 | 209 | 209 | 209 | $322,700 | 12/14/2015 | |||
| Rest of World | $193,796 | |||||||||
| International Total | $587,000 | 12/17/2015 | ||||||||
Note: Territories vary in whether they report screens or theaters. Full details on international box office data are available via our OpusData service.
Leading
| Steve Coogan | Paul Raymond | |
| Anna Friel | Jean Raymond | |
| Imogen Poots | Debbie Raymond | |
| Tamsin Egerton | Fiona Richmond |
Supporting
| Chris Addison | Tony Power | |
| James Lance | Carl Snitcher | |
| Shirley Henderson | Rusty Humphries | |
| David Williams | Vicar Edwyn Young | |
| Matt Lucas | Divine | |
| Simon Bird | Jonathan Hodge | |
| Stephen Fry | Barrister | |
| Dara O'Briain | Comedian | |
| Kieran O'Brien | Jimmy Humphries | |
| Miles Jupp | Interviewer | |
| Peter Wight | Police Inspector | |
| Matthew Beard | Howard Raymond |
Production and Technical Credits
| Michael Winterbottom | Director | |
| Melissa Parmenter | Producer | |
| Matt Greenhalgh | Screenwriter | |
| Andrew Eaton | Executive Producer | |
| Jenny Borgars | Executive Producer | |
| Katherine Butler | Executive Producer | |
| Norman Merry | Executive Producer | |
| Danny Perkins | Executive Producer | |
| Piers Wenger | Executive Producer | |
| Josh Hyams | Co-Producer | |
| Alice Dawson | Co-Producer | |
| Mags Arnold | Editor | |
| Hubert Taczanowski | Director of Photography | |
| Antony Genn | Composer | |
| Martin Slattery | Composer | |
| Jacqueline Abrahams | Production Designer | |
| Stephanie Collie | Costume Designer | |
| Jina Jay | Casting Director | |
| Loz Schiavo | Make up | |
| Fiona Fellows | Hair Designer | |
| Joakim Sundstrom | Supervising Sound Editor | |
| Will Whale | Recordist |
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.
Full financial estimates for this film, including domestic and international box office, video sales, video rentals, TV and ancillary revenue are available through our research services. For more information, please contact us at research@the-numbers.com.