The People vs. Larry Flynt (1996)
| Theatrical Performance | ||
| Domestic Box Office | $20,224,840 | Details |
| OpusData ID: 25040100 More info... | ||
| Further financial details... | ||
Metrics
| Opening Weekend: | $523,295 (2.6% of total gross) |
| Legs: | 3.81 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 16 opening theaters/1,233 max. theaters, 5.2 weeks average run per theater |
| Infl. Adj. Dom. BO | $50,003,534 |
Movie Details
| Domestic Releases: | December 25th, 1996 (Wide) by Sony Pictures |
| Video Release: | April 5th, 2011 by Image Entertainment Video |
| MPA Rating: | R for strong sexual material, nudity, language and drug use |
| Running Time: | 129 minutes |
| Cast, crew, or production detail: | Epilogue |
| Plot point: | Biography, First Amendment, Terminal Illness, Wheelchair User |
| Social setting: | Porn Business |
| Subgenre: | Courtroom / Legal Drama |
| Source: | Based on Real Life Events |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Dramatization |
| Production/Financing Companies: | Columbia Pictures, Phoenix Pictures, Ixtlan Productions |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Dec 27, 1996 | 20 | $523,295 | 16 | $32,706 | $523,295 | 1 | |
| Jan 3, 1997 | 22 | $597,692 | +14% | 16 | $37,356 | $1,744,214 | 2 |
| Jan 10, 1997 | 7 | $5,315,079 | +789% | 1,233 | $4,311 | $7,385,929 | 3 |
| Jan 17, 1997 | 8 | $3,811,035 | -28% | 1,233 | $3,091 | $13,017,419 | 4 |
| Jan 24, 1997 | 12 | $2,101,914 | -45% | 1,233 | $1,705 | $15,912,974 | 5 |
| Jan 31, 1997 | 19 | $1,165,521 | -45% | 966 | $1,207 | $17,816,628 | 6 |
| Feb 7, 1997 | 21 | $600,288 | -48% | 500 | $1,201 | $18,778,141 | 7 |
| Feb 14, 1997 | 28 | $417,014 | -31% | 226 | $1,845 | $19,403,287 | 8 |
| Feb 21, 1997 | 27 | $281,097 | -33% | 484 | $581 | $19,763,738 | 9 |
| Feb 28, 1997 | 44 | $80,809 | -71% | 142 | $569 | $19,934,039 | 10 |
| Mar 7, 1997 | 59 | $26,596 | -67% | 66 | $403 | $19,978,109 | 11 |
| Mar 21, 1997 | 54 | $24,802 | 61 | $407 | $20,036,079 | 13 | |
| Apr 18, 1997 | 50 | $58,928 | 127 | $464 | $20,136,756 | 17 | |
| Apr 25, 1997 | 56 | $33,112 | -44% | 66 | $502 | $20,191,312 | 18 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Dec 27, 1996 | 20 | $1,146,522 | 16 | $71,658 | $1,146,522 | 2 | |
| Jan 3, 1997 | 21 | $924,328 | -19% | 16 | $57,771 | $2,070,850 | 3 |
| Jan 10, 1997 | 7 | $7,135,534 | +672% | 1,233 | $5,787 | $9,206,384 | 4 |
| Jan 17, 1997 | 8 | $4,604,676 | -35% | 1,233 | $3,735 | $13,811,060 | 5 |
| Jan 24, 1997 | 12 | $2,840,047 | -38% | 1,233 | $2,303 | $16,651,107 | 6 |
| Jan 31, 1997 | 19 | $1,526,746 | -46% | 966 | $1,580 | $18,177,853 | 7 |
| Feb 7, 1997 | 21 | $808,420 | -47% | 500 | $1,617 | $18,986,273 | 8 |
| Feb 14, 1997 | 27 | $496,368 | -39% | 226 | $2,196 | $19,482,641 | 9 |
| Feb 21, 1997 | 26 | $370,589 | -25% | 484 | $766 | $19,853,230 | 10 |
| Feb 28, 1997 | 44 | $98,283 | -73% | 142 | $692 | $19,951,513 | 11 |
| Apr 18, 1997 | 49 | $80,372 | 127 | $633 | $20,158,200 | 18 |
Leading
| Woody Harrelson | Larry Flynt |
Supporting
| Courtney Love | Althea Leasure | |
| Edward Norton | Alan Isaacman | |
| James Cromwell | Charles Keating | |
| Norm MacDonald | Network Reporter | |
| Crispin Glover | Arlo | |
| Vincent Schiavelli | Chester | |
| James Carville | Simon Leis | |
| Brett Harrelson | Jimmy Flynt | |
| Donna Hanover | Ruth Carter Stapleton |
Production and Technical Credits
| Miloš Forman | Director | |
| Oliver Stone | Producer | |
| Janet Yang | Producer | |
| Michael Hausman | Producer | |
| Scott Alexander | Screenwriter | |
| Larry Karaszewski | Screenwriter | |
| Philippe Rousselot | Director of Photography | |
| Patrizia Von Brandenstein | Production Designer | |
| Christopher Tellefsen | Editor | |
| Thomas Newman | 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: | $523,295 (2.6% of total gross) |
| Legs: | 3.81 (domestic box office/biggest weekend) |
| Domestic Share: | 100.0% (domestic box office/worldwide) |
| Theater counts: | 16 opening theaters/1,233 max. theaters, 5.2 weeks average run per theater |
| Infl. Adj. Dom. BO | $50,003,534 |
Movie Details
| Domestic Releases: | December 25th, 1996 (Wide) by Sony Pictures |
| Video Release: | April 5th, 2011 by Image Entertainment Video |
| MPA Rating: | R for strong sexual material, nudity, language and drug use |
| Running Time: | 129 minutes |
| Cast, crew, or production detail: | Epilogue |
| Plot point: | Biography, First Amendment, Terminal Illness, Wheelchair User |
| Social setting: | Porn Business |
| Subgenre: | Courtroom / Legal Drama |
| Source: | Based on Real Life Events |
| Genre: | Drama |
| Production Method: | Live Action |
| Creative Type: | Dramatization |
| Production/Financing Companies: | Columbia Pictures, Phoenix Pictures, Ixtlan Productions |
| Production Countries: | United States |
| Languages: | English |
Weekend Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Dec 27, 1996 | 20 | $523,295 | 16 | $32,706 | $523,295 | 1 | |
| Jan 3, 1997 | 22 | $597,692 | +14% | 16 | $37,356 | $1,744,214 | 2 |
| Jan 10, 1997 | 7 | $5,315,079 | +789% | 1,233 | $4,311 | $7,385,929 | 3 |
| Jan 17, 1997 | 8 | $3,811,035 | -28% | 1,233 | $3,091 | $13,017,419 | 4 |
| Jan 24, 1997 | 12 | $2,101,914 | -45% | 1,233 | $1,705 | $15,912,974 | 5 |
| Jan 31, 1997 | 19 | $1,165,521 | -45% | 966 | $1,207 | $17,816,628 | 6 |
| Feb 7, 1997 | 21 | $600,288 | -48% | 500 | $1,201 | $18,778,141 | 7 |
| Feb 14, 1997 | 28 | $417,014 | -31% | 226 | $1,845 | $19,403,287 | 8 |
| Feb 21, 1997 | 27 | $281,097 | -33% | 484 | $581 | $19,763,738 | 9 |
| Feb 28, 1997 | 44 | $80,809 | -71% | 142 | $569 | $19,934,039 | 10 |
| Mar 7, 1997 | 59 | $26,596 | -67% | 66 | $403 | $19,978,109 | 11 |
| Mar 21, 1997 | 54 | $24,802 | 61 | $407 | $20,036,079 | 13 | |
| Apr 18, 1997 | 50 | $58,928 | 127 | $464 | $20,136,756 | 17 | |
| Apr 25, 1997 | 56 | $33,112 | -44% | 66 | $502 | $20,191,312 | 18 |
Weekly Box Office Performance
| Date | Rank | Gross | % Change | Theaters | Per Theater | Total Gross | Week |
|---|---|---|---|---|---|---|---|
| Dec 27, 1996 | 20 | $1,146,522 | 16 | $71,658 | $1,146,522 | 2 | |
| Jan 3, 1997 | 21 | $924,328 | -19% | 16 | $57,771 | $2,070,850 | 3 |
| Jan 10, 1997 | 7 | $7,135,534 | +672% | 1,233 | $5,787 | $9,206,384 | 4 |
| Jan 17, 1997 | 8 | $4,604,676 | -35% | 1,233 | $3,735 | $13,811,060 | 5 |
| Jan 24, 1997 | 12 | $2,840,047 | -38% | 1,233 | $2,303 | $16,651,107 | 6 |
| Jan 31, 1997 | 19 | $1,526,746 | -46% | 966 | $1,580 | $18,177,853 | 7 |
| Feb 7, 1997 | 21 | $808,420 | -47% | 500 | $1,617 | $18,986,273 | 8 |
| Feb 14, 1997 | 27 | $496,368 | -39% | 226 | $2,196 | $19,482,641 | 9 |
| Feb 21, 1997 | 26 | $370,589 | -25% | 484 | $766 | $19,853,230 | 10 |
| Feb 28, 1997 | 44 | $98,283 | -73% | 142 | $692 | $19,951,513 | 11 |
| Apr 18, 1997 | 49 | $80,372 | 127 | $633 | $20,158,200 | 18 |
Leading
| Woody Harrelson | Larry Flynt |
Supporting
| Courtney Love | Althea Leasure | |
| Edward Norton | Alan Isaacman | |
| James Cromwell | Charles Keating | |
| Norm MacDonald | Network Reporter | |
| Crispin Glover | Arlo | |
| Vincent Schiavelli | Chester | |
| James Carville | Simon Leis | |
| Brett Harrelson | Jimmy Flynt | |
| Donna Hanover | Ruth Carter Stapleton |
Production and Technical Credits
| Miloš Forman | Director | |
| Oliver Stone | Producer | |
| Janet Yang | Producer | |
| Michael Hausman | Producer | |
| Scott Alexander | Screenwriter | |
| Larry Karaszewski | Screenwriter | |
| Philippe Rousselot | Director of Photography | |
| Patrizia Von Brandenstein | Production Designer | |
| Christopher Tellefsen | Editor | |
| Thomas Newman | 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.