Jurassic World also paid dues to its predecessor, but The Force Awakens spurs the homage-fest through to more poignant dramatic ends. But much credit should also go to JJ Abrams for his careful execution in a reverential but spry retooling of the original trilogy.
The towering level of pre-awareness, underpinned by the desire to see the sins of the prequels rectified, has been the key factor. A purchase that, as many are pointing out this morning, now looks like a snip. It’s about as glittering a launch as Disney could have hoped for, a necessarily decisive first step in recouping the $4bn paid for Lucasfilm in 2012. Extremely impressive considering the mighty China is not in play until 9 January. Globally, it posted all-time highest openings in the UK ($48.9m), Germany ($27.3m), Australia ($22.7m) and others on its way to a $529m estimated worldwide debut – beating Jurassic World’s $525m.
Contained in that $248m is a number of other firsts: ticket presale records in the UK, Russia and North America Thursday night’s unprecedented $57m of previews a new $48m Imax record single-day and opening-day records ($120.5m) for Friday that swept past the final Harry Potter ($91.1m), and even without the incorporated Thursday previews still narrowly pipped Jurassic World to the Friday-only crown.
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This was the movie we were looking for – and a new $248m (£166m) US opening-weekend record followed, beating Jurassic World’s $208.8m June haul by a handsome margin. Call it 2015’s Jedi mind trick: how Disney ( allegedly) underspent on conventional marketing for The Force Awakens, instead relying on vast pent-up reserves of cultural interest in Star Wars to generate white-hot hype and media coverage that, before anyone had seen the film this week, snowballed into one giant act of cultural auto-persuasion.
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