20th Century Fox
Logo used as of 2013
|Subsidiary of 21st Century Fox|
|Founded||May 31, 1935 by merger,|
|Founder||Joseph M. Schenck
Darryl F. Zanuck
|Headquarters||Fox Plaza, Century City, Los Angeles, California, U.S|
(Chairman and CEO)
|Products||Motion pictures, television films|
21st Century Fox
|Parent||Fox Filmed Entertainment
(Fox Entertainment Group)
|Divisions||20th Century Fox Animation
Fox Searchlight Pictures
Fox Digital Studio
Fox 2000 Pictures
Fox Animation Studios
Fox Digital Entertainment
30th Century Fox
|Subsidiaries||Blue Sky Studios
Fox Star Studios(India)
20th Century Fox Home Entertainment
Fox Television Studios
20th Century Fox Television
20th Century Fox Japan
Fox Studios Australia
Twentieth Century Fox Film Corporation (Twentieth Century-Fox Film Corporation, with hyphen, from 1935 to 1985)—also known as 20th Century Fox, 20th Century Fox Pictures, 20th, or simply Fox (20CFFC)-is an American film studio, distributor and one of the six major American film studios. Located in the Century City area of Los Angeles, just west of Beverly Hills, the studio used to be a subsidiary of News Corporation, but is now a subsidiary of 21st Century Fox.
20th Century Fox has distributed famous film series, including Avatar, the first two Star Wars trilogies, Ice Age, Power Rangers, X-Men, Die Hard, Planet of the Apes, Night at the Museum, Taken, Fantastic Four, Alien, Predator, Alvin and the Chipmunks. Television series produced by Fox include The Simpsons, Family Guy, M*A*S*H, The X-Files, Bones, Buffy the Vampire Slayer, Futurama, How I Met Your Mother, Glee, Modern Family, New Girl, and 24. Among the most famous actresses to come out of this studio were Shirley Temple, who was 20th Century Fox's first film star, Alice Faye, Betty Grable, Gene Tierney, Marilyn Monroe and Jayne Mansfield. The studio also contracted the first African-American cinema star, Dorothy Dandridge.
|This section does not cite any references or sources. (August 2014)|
Twentieth Century Pictures' Joseph Schenck and Darryl F. Zanuck left United Artists over a stock dispute, and began merger talks with the management of financially struggling Fox Film, under president Sidney Kent. Spyros Skouras, then manager of the Fox West Coast Theaters, helped make it happen (and later became president of the new company). Although it was still much smaller than Fox, Twentieth Century was the senior partner in the merger. Aside from the theater chain and a first-rate studio lot, Zanuck and Schenck felt there was not much else to Fox. The studio's biggest star, Will Rogers, died in a plane crash weeks after the merger. Its leading female star, Janet Gaynor, was fading in popularity and promising leading men James Dunn and Spencer Tracy had been dropped because of heavy drinking. At first, it was expected that the new company was originally to be called "Fox-Twentieth Century". However, 20th Century brought more to the bargaining table besides Schenck and Zanuck; it was more profitable than Fox and had considerably more talent. The new company, The Twentieth Century-Fox Film Corporation, began trading on May 31, 1935; the hyphen was dropped in 1985. Schenck became Chairman and Chief Executive Officer, while Kent remained as President. Zanuck became Vice President in Charge of Production, replacing Fox's longtime production chief Winfield Sheehan.
The company's films retained the 20th Century Films searchlight logo on their opening credits as well as the 20th Century opening fanfare, but with the name changed to 20th Century-Fox.
After the merger was completed, Zanuck quickly signed young actors who would carry Twentieth Century-Fox for years: Tyrone Power, Linda Darnell, Carmen Miranda, Don Ameche, Henry Fonda, Gene Tierney, Sonja Henie, and Betty Grable. Also on the Fox payroll he found two players who he built up into the studio's leading assets, Alice Faye and seven-year-old Shirley Temple. Favoring popular biographies and musicals, Zanuck built Fox back to profitability. Thanks to record attendance during World War II, Fox overtook RKO and Metro-Goldwyn-Mayer (Hollywood's biggest studio) to become the third most profitable film studio. While Zanuck went off for eighteen months' war service, junior partner William Goetz kept profits high by going for light entertainment. The studio's—indeed the industry's—biggest star was creamy blonde Betty Grable.
In 1942, Spyros Skouras succeeded Kent as president of the studio. Together with Zanuck, who returned in 1943, they intended to make Fox's output more serious-minded. During the next few years, with pictures like The Razor's Edge, Wilson, Gentleman's Agreement, The Snake Pit, Boomerang, and Pinky, Zanuck established a reputation for provocative, adult films. Fox also specialized in adaptations of best-selling books such as Ben Ames Williams' Leave Her to Heaven (1945), starring Gene Tierney, which was the highest-grossing Fox film of the 1940s. Fox also produced film versions of Broadway musicals, including the Rodgers and Hammerstein films, beginning with the musical version of State Fair, the only work that the famous team wrote especially for films, in 1945, and continuing years later with Carousel in 1956, The King and I, and The Sound of Music. They also made the 1958 film version of South Pacific. Fox released B pictures made by producers Edward L. Alperson from the mid-1940s and Robert L. Lippert (Regal and later Associated Pictures Inc.) in the mid-1950s.
After the war, and with the advent of television, audiences slowly drifted away. Twentieth Century Fox held on to its theaters until a court-mandated "divorce"; they were spun off as Fox National Theaters in 1953. That year, with attendance at half the 1946 level, Twentieth Century Fox gambled on an unproven gimmick. Noting that the two film sensations of 1952 had been Cinerama, which required three projectors to fill a giant curved screen, and "Natural Vision" 3D, which got its effects of depth by requiring the use of polarized glasses, Fox mortgaged its studio to buy rights to a French anamorphic projection system which gave a slight illusion of depth without glasses. President Spyros Skouras struck a deal with the inventor Henri Chrétien, leaving the other film studios empty-handed, and in 1953 introduced CinemaScope in the studio's ground-breaking feature film The Robe.
The success of The Robe was so massive that in February 1953 Zanuck announced that henceforth all Fox pictures would be made in CinemaScope. To convince theater owners to install this new process, Fox agreed to help pay conversion costs (about $25,000 per screen); and to ensure enough product, Fox gave access to CinemaScope to any rival studio choosing to use it. Seeing the box-office for the first two CinemaScope features, The Robe and How to Marry a Millionaire, Warner Bros., MGM, Universal Pictures (then known as Universal-International), Columbia Pictures and Disney quickly adopted the process. In 1956 Fox engaged Robert Lippert to establish a subsidiary company, Regal Pictures, later Associated Producers Incorporated to film B pictures in CinemaScope (but "branded" RegalScope).
CinemaScope brought a brief up-turn in attendance, but by 1956 the numbers again began to slide. That year Darryl Zanuck announced his resignation as head of production. Zanuck moved to Paris, setting up as an independent producer; he did not set foot in California again for twenty years.
Production and financial problems
Zanuck's successor, producer Buddy Adler, died a year later. President Spyros Skouras brought in a series of production executives, but none had Zanuck's success. By the early 1960s Fox was in trouble. A new version of Cleopatra had begun in 1959 with Joan Collins in the lead. As a publicity gimmick, producer Walter Wanger offered one million dollars to Elizabeth Taylor if she would star; she accepted, and costs for Cleopatra began to escalate, aggravated by Richard Burton's on-set romance with Taylor, the surrounding media frenzy, and Skouras' selfish preferences and inexperienced micromanagement on the film's production. Not even his showmanship made up for his considerable lack of filmmaking in speeding up production on Cleopatra.
Meanwhile, another remake—of the 1940 Cary Grant hit My Favorite Wife— was rushed into production in an attempt to turn over a quick profit to help keep Fox afloat. The romantic comedy entitled Something's Got to Give paired Marilyn Monroe, Fox's most bankable star of the 1950s, with Dean Martin, and director (George Cukor). The troubled Monroe caused delays on a daily basis, and it quickly descended into a costly debacle. As Cleopatra's budget passed the ten-million-dollar mark, settling somewhere around $40 million, Fox sold its back lot (now the site of Century City) to Alcoa in 1961 to raise cash. After several weeks of script rewrites on the Monroe picture and very little progress, mostly due to the director George Cukor's slow and repetitive filming, in addition to Monroe's chronic sinusitus, Marilyn Monroe was fired from Something's Got to Give and two months later she was found dead. According to Fox files she was rehired within weeks for a two-picture deal totaling one million dollars, $500K to finish Something's Got To Give, plus a bonus at completion, and $500K for What a Way to Go. Elizabeth Taylor's disruptive[neutrality is disputed] reign on the Cleopatra set continued unchallenged from 1960 into 1962, though three Fox executives went to Rome in June 1962 to fire her. They learned that director Joseph L. Mankiewicz had filmed out of sequence and had only done interiors, so Fox was then forced to allow Taylor several more weeks of filming. In the meantime that summer of '62, Fox released nearly all of its contract stars, including Jayne Mansfield.
With few pictures on the schedule, Skouras wanted to rush Zanuck's big-budget war epic The Longest Day, a highly accurate account of the Allied invasion of Normandy on June 6, 1944, with a huge international cast, into release as another source of quick cash. This offended Zanuck, still Fox's largest shareholder, for whom The Longest Day was a labor of love that he had dearly wanted to produce for years. After it became clear that Something's Got to Give would not be able to progress without Monroe in the lead (Martin had refused to work with anyone else), Skouras finally decided that something had to give and re-signed her. But days before filming was due to resume, she was found dead at her Los Angeles home and the picture resumed filming as Move Over, Darling, with Doris Day and James Garner in the leads. Released in 1963, the film was a hit. The unfinished scenes from Something's Got to Give were shelved for nearly 40 years. Rather than being rushed into release as if it were a B-picture, The Longest Day was lovingly and carefully produced under Zanuck's supervision. It was finally released at a length of three hours, and went on to be recognized as one of the great World War II films.
At the next board meeting, Zanuck spoke for eight hours, convincing directors that Skouras was mismanaging the company and that he was the only possible successor. Zanuck was installed as chairman, and then named his son Richard Zanuck as president. This new management group seized Cleopatra and rushed it to completion, shut down the studio, laid off the entire staff to save money, axed the long-running Movietone Newsreel and made a series of cheap, popular pictures that restored Fox as a major studio. The biggest boost to the studio's fortunes came from the tremendous success of The Sound of Music (1965), an expensive and handsomely produced film adaptation of the highly acclaimed Rodgers and Hammerstein Broadway musical, which became one of the all-time greatest box office hits and went on to win five Academy Awards, including Best Director (Robert Wise) and Best Picture of the Year.
Fox also had two big science-fiction hits in the 1960s: Fantastic Voyage (which introduced Raquel Welch to film audiences) in 1966, and the original Planet of the Apes, starring Charlton Heston, Kim Hunter, and Roddy McDowall, in 1968. Fantastic Voyage was the last film made in CinemaScope, which was ultimately replaced by Panavision lenses.
Zanuck stayed on as chairman until 1971, but there were several expensive flops in his last years, resulting in Fox posting losses from 1969 to 1971. Following his removal, and after an uncertain period, new management brought Fox back to health. Under president Dennis Carothers Stanfill and production head Alan Ladd, Jr., Fox films connected with modern audiences. Stanfill used the profits to acquire resort properties, soft-drink bottlers, Australian theaters, and other properties in an attempt to diversify enough to offset the boom-or-bust cycle of picture-making.
Foreshadowing a pattern of film production still yet to come, in late 1973 Twentieth Century-Fox joined forces with Warner Bros. to co-produce The Towering Inferno (1974), an all-star action blockbuster from producer Irwin Allen. Both studios found themselves owning the rights to books about burning skyscrapers. Allen insisted on a meeting with the heads of both studios and announced that as Fox was already in the lead with their property it would be career suicide to have competing movies. And so the first joint venture studio deal was struck. In hindsight whilst it may be common place now, back in the 1970s it was a risky, but revolutionary idea that paid off handsomely at both the domestic and international box offices around the world.
In 1977, Fox's success reached new heights and produced the most profitable film made up to that time, Star Wars. Substantial financial gains were realized as a result of the film's unprecedented success: from a low of $6 in June 1976, stock prices more than quadrupled to almost $27 after Star Wars' release; 1976 revenues of $195 million rose to $301 million in 1977.:181
Marvin Davis and Rupert Murdoch
With financial stability came new owners, and in 1978 control passed to the investors Marc Rich and Marvin Davis. Fox's assets included Pebble Beach Golf Links, the Aspen Skiing Company, and a Century City property upon which Davis built and twice sold Fox Plaza.
By 1985 Rich was a fugitive from U.S. justice, and Davis bought out his interest in Fox for $116 million. Davis sold this interest to Rupert Murdoch for $250 million in March 1984. Davis later backed out of a deal with Murdoch to purchase John Kluge's Metromedia television stations. Murdoch went alone and bought the stations, and later bought out Davis' remaining stake in Fox for $325 million.
To gain FCC approval of Fox's purchase of Metromedia's television holdings, once the stations of the old DuMont network, Murdoch had to become a U.S. citizen. He did so in 1985, and in 1986 the new Fox Broadcasting Company took to the air. Over the next 20-odd years, the network and owned-stations group expanded to become extremely profitable for News Corp.
Since January 2000, this company has been the international distributor for MGM/UA releases. In the 1980s, Fox—through a joint venture with CBS, called CBS/Fox Video—had distributed certain UA films on video, thus UA has come full circle by switching to Fox for video distribution. Fox also makes money distributing films for small independent film companies.
In 2008, Fox announced an Asian subsidiary, Fox STAR Studios, a joint venture with STAR TV, also owned by News Corporation. It was reported that Fox STAR would start by producing films for the Bollywood market, then expand to several Asian markets.
In August 2012, 20th Century Fox signed a five-year deal with DreamWorks Animation to distribute on domestic and international markets. However, the deal did not include the distribution rights of previously released films which DreamWorks Animation acquired from Paramount Pictures later in 2014. Now they will distribute the old DreamWorks Animation films.
In 2012, Rupert Murdoch announced that News Corp. would be split into two publishing and media-oriented companies; a new News Corporation, and 21st Century Fox, which houses Fox Entertainment Group and 20th Century Fox. Murdoch considered the name of the new company a way to maintain the 20th Century Fox's heritage as the group advances into the future.
During the mid-1950s features were released to television in the hope that they would broaden sponsorship and help distribution of network programs. Blocks of one-hour programming of feature films to national sponsors on 128 stations was organized by Twentieth Century Fox and National Telefilm Associates. Twentieth Century Fox received 50 percent interest in NTA Film network after it sold its library to National Telefilm Associates. This gave 90 minutes of cleared time a week and syndicated feature films to 110 non-interconnected stations for sale to national sponsors.
Between 1933 and 1937, a custom record label called Fox Movietone was produced starting at F-100 and running through F-136. It featured songs from Fox movies, first using material recorded and issued on Victor's Bluebird label and halfway through switched to material recorded and issued on ARC's dime store labels (Melotone, Perfect, etc.). These scarce records were sold only at Fox Theaters.
Fox Music has been Fox's music arm since 2000. It encompasses music publishing and licensing businesses, dealing primarily with Fox Entertainment Group television and film soundtracks.
Prior to Fox Music, 20th Century Records was its music arm from 1958 to 1982.
The Twentieth Century Fox Presents radio series were broadcast between 1936 and 1942. More often than not, the shows were a radio preview featuring a medley of the songs and soundtracks from the latest movie being released into the theaters, much like the modern day movie trailers we now see on TV, to encourage folks to head down to their nearest Picture House.
The radio shows featured the original stars, with the announcer narrating a wonderful lead up, which really encapsulated the performance, such as in the film, Irene.
"Almost everybody who has listened to a radio has heard the haunting melodies of Alice Blue Gown. Written 21 years ago, it has remained the popular classic ballad during all these years. Deciding to make this tune the main feature number of his picture, producer Wilcox garnered all the resources of Hollywood to make this, one of the greatest production numbers of all time. Photographed entirely in dazzling technicolor, and wearing her Alice Blue Gown, Anna Neagle sings..." (who then began to sing the opening notes of the song).
Motion Picture Film Processing
From its earliest ventures into movie production, Fox Film Corporation operated its own processing laboratories. The original lab was located in Fort Lee, New Jersey along with the studios. A lab was included with the new studio built in Los Angeles in 1916. Headed by Alan E. Freedman, the Fort Lee lab was moved into the new Fox Studios building in Manhattan in 1919. In 1932, Freedman bought the labs from Fox for $2,000,000 to bolster what at that time was a failing Fox liquidity. He renamed the operation "DeLuxe Laboratories" which much later became DeLuxe Entertainment Services Group. In the 1940s Freedman sold the labs back to what was then 20th Century Fox and remained as president into the 1960s. Under Freedman's leadership, DeLuxe added two more labs in Chicago and Toronto and processed film from studios other than Fox.
Logo and fanfare
||This section may contain an excessive amount of intricate detail that may only interest a specific audience. (February 2012)|
The fanfare was originally composed in 1933 by Alfred Newman, who became head of Twentieth Century-Fox's music department from 1940 until the 1960s. It was re-recorded in 1935 when 20th Century Fox was officially established.
The Art Deco 20th Century Fox logo, designed by special effects animator and matte painting artist Emil Kosa, Jr., originated as the 20th Century Pictures logo, with the name "Fox" substituted for "Pictures, Inc." in 1935. The logo was originally created as a painting on several layers of glass and animated frame-by-frame. Over the years the logo was modified several times. Kosa's last major work for Fox was the matte painting of the Statue of Liberty in Planet of the Apes, shortly before his death.
In 1953, Rocky Longo, an artist at Pacific Title, was hired to recreate the original design for the new CinemaScope process. In order to give the design the required "width", Longo tilted the "0" in 20th. It was first used on the film How to Marry a Millionaire, released in the same year. The Robe, the first film released in CinemaScope, used the sound of a choir singing over the logo, instead of the regular fanfare. In 1981, Longo repainted the logo design once again, and straightened the "0". The Fox fanfare was re-orchestrated in 1981, as Longo's revised logo was being introduced.
By the 1970s the Fox fanfare was being used in films sporadically. George Lucas enjoyed the Alfred Newman music so much that he insisted it be used for Star Wars (1977), which features the CinemaScope version (but the variation conducted by Lionel Newman, as the Alfred Newman original version had been misfiled). Composer John Williams composed the Star Wars main theme in the same key (B♭ major) as the Fox fanfare, serving as an extension to Newman's score. In 1980, Williams conducted a new version of the extended fanfare for The Empire Strikes Back. Williams's recording of the Fox fanfare has been used in every Star Wars film until Star Wars: Episode III: Revenge of the Sith in 2005. Since the introduction of the CGI Fox logo in the early to mid-1990s, the series used the static angle version of the new logo, to allow for the animated Lucasfilm logo to appear during the extension.
In 1994, after a few failed attempts (which even included trying to film the familiar monument as an actual three-dimensional model), Fox in-house television producer Kevin Burns was hired to produce a new logo for the company—this time using the new process of computer-generated imagery (CGI). With the help of graphics producer Steve Soffer and his company Studio Productions (which had recently given face-lifts to the Paramount and Universal logos), Burns directed that the new logo contain more detail and animation, so that the longer (21 second) Fox fanfare with the "CinemaScope extension" could be used as the underscore. This required a virtual Los Angeles Cityscape to be designed around the monument. In the background can be seen the Hollywood sign, which would give the monument an actual location (approximating Fox's actual address in Century City). One final touch was the addition of store-front signs—each one bearing the name of Fox executives who were at the studio at the time. One of the signs reads, "Murdoch's Department Store"; another says "Chernin's" and a third reads: "Burns Tri-City Alarm" (an homage to Burns's late father who owned a burglar and fire alarm company in Upstate New York). The 1994 CGI logo was also the first time that Twentieth Century Fox was recognized as "A News Corporation Company" in the logo.
As the CGI logo was being prepared to premiere at the beginning of True Lies (1994), Burns asked composer Bruce Broughton for a new version of the familiar fanfare. In 1997 Alfred's son, composer David Newman, recorded the new version of the fanfare to reopen to Newman Scoring Stage originally known as Fox Scoring Stage and debuted in Anastasia (1997). This rendition is still in use as of 1998.
In 2009, a newly updated CGI logo, done by Blue Sky Studios, debuted in the film Avatar. A 75th Anniversary version of this new logo was used to coincide with 20th Century Fox's 75th anniversary; it made its official debut with Percy Jackson & the Olympians: The Lightning Thief, and last appeared in Gulliver's Travels.
As television grew as a medium, the practice of placing production logos at the end of programs became commonplace. For Fox's television arm, a truncated version of the Newman fanfare has been used with a brief shot of the Fox logo. Syndicated programs would overlay "Television" over "Century" in an animation, resulting in the logo reading "20th Television Fox". Today, CGI logos are used, with 20th Century Fox Television primarily for Fox network programming, and 20th Television for other programming (such as cable and syndication).
Parodies of the fanfare have appeared at the start of the films Those Magnificent Men in Their Flying Machines (played by a small band, imitating the silent era of films), The Cannonball Run (cars drive around the logo and knock out the searchlights), White Men Can't Jump (rap version of the fanfare), The Day After Tomorrow (thunderstorm on the set), Live Free or Die Hard (where the searchlights go out as a result of a power outage), The Rocky Horror Picture Show (featuring a silent-movie piano version of the fanfare), The Simpsons Movie (Ralph Wiggum "sings along" with the fanfare; in trailers and commercials, the "0" in the tower is replaced by a pink, half-bitten doughnut of the type Homer eats), Daredevil (the picture morphs into a negative image of the logo – as if perceived by the main character's radar sense), Ice Age: Dawn of the Dinosaurs (with snow and volcanoes covering the logo, but the regular 20th Century Fox logo was shown on the film's DVD and Blu-ray releases instead, but is shown on the Blu-ray 3D and TrioScopics 3D DVD releases), Rio 2 (Samba version of the fanfare), The Book of Life (the logo takes place in a graveyard, the "0" in "20th" is replaced by a skull, the searchlight is replaced by two candles and much more)) and Minority Report (where the logo, alongside its DreamWorks counterpart, appears immersed in water, similar to the film's "precog" characters). The fanfare was also used within What a Way to Go!, as the theme of Lush Budged Productions, opening Shirley MacLaine's fantasy of her marriage to Robert Mitchum.
In Silent Movie, the logo is shown on a billboard, past which Mel Brooks drives. In Edward Scissorhands, it is snowing on the logo during the opening credits. the first 3 X-Men films and X-Men: Days of Future Past, the "X" in "Fox" remains ghosted on the screen as the scene fades out. In trailers for X-Men Origins: Wolverine, the logo appears chrome to match Wolverine's claws. In Moulin Rouge!, the logo appears on a stage behind a red curtain with a conductor directing an orchestra playing the fanfare. In the 2003 production of The League of Extraordinary Gentlemen, the logo appears as a huge unlit monument dominating the nighttime London skyline. In Kingdom of Heaven, the logo is tinted in dark yellow-ochre. In the Diary of a Wimpy Kid films, the logo transforms into a paper sheet drawing. In Prometheus, the logo is a shade of steely blue, rather than the usual color scheme. In The Fault in Our Stars, the logo is dark and once it finishes its animation, it pans up to the night sky.
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At the end of Fox's Futurama, set in the 30th and 31st centuries, the logo is shown with the words "30th Century Fox Television".
As a surprise twist, the opening fanfare for Alien3 has the music freeze on the penultimate melody tone (an E-flat minor chord), and then adds wailing French horns and bending strings, before continuing with a crash into the opening titles, thus setting the dark mood for the film.
Fox Searchlight Pictures, Foxstar Productions, and Fox Studios Australia are just a few of the other corporate entities that have used variations based on the original logo's design. 21st Century Fox, the corporate successor to News Corporation, uses a logo incorporating a minimalist representation of the searchlights.
|2||Titanic*||1997||$658,672,302||International distribution only. Released by Paramount Pictures domestically.|
|3||Star Wars Episode I: The Phantom Menace*||1999||$474,544,677||Distribution only. Owned and produced by Lucasfilm Ltd.|
|4||Star Wars*||1977||$460,998,007||Later retitled as Star Wars Episode IV: A New Hope.|
|5||Star Wars Episode III: Revenge of the Sith||2005||$380,270,577||Distribution only. Owned and produced by Lucasfilm Ltd.|
|6||Star Wars Episode II: Attack of the Clones||2002||$310,676,740||Distribution only. Owned and produced by Lucasfilm Ltd.|
|7||Return of the Jedi*||1983||$309,306,177||Distribution only. Owned and produced by Lucasfilm Ltd.|
|9||The Empire Strikes Back*||1980||$290,475,067||Distribution only. Owned and produced by Lucasfilm Ltd.|
|11||Night at the Museum||2006||$250,863,268|
|12||X-Men: The Last Stand||2006||$234,362,462|
|13||X-Men: Days of Future Past||2014||$233,921,534|
|14||Cast Away||2000||$233,632,142||Distributed by DreamWorks Pictures internationally.|
|15||Alvin and the Chipmunks: The Squeakquel||2009||$219,614,612|
|17||Alvin and the Chipmunks||2007||$217,326,974|
|18||X2: X-Men United||2003||$214,949,694||Released internationally as X-Men 2.|
|19||Dawn of the Planet of the Apes||2014||$208,545,589|
|20||Ice Age: Dawn of the Dinosaurs||2009||$196,573,705|
|21||Ice Age: The Meltdown||2006||$195,330,621|
|22||The Croods||2013||$187,168,425||Distribution only. Owned and produced by DreamWorks Animation.|
|23||The Day After Tomorrow||2004||$186,740,799|
|24||Mr. & Mrs. Smith||2005||$186,336,279||Distributed by Summit Entertainment internationally.|
|25||The Simpsons Movie||2007||$183,135,014|
- Includes theatrical reissue(s).
- Related companies:
- Related products:
- "20th Century Fox: Chronology". Retrieved February 20, 2010.
- "Motion Picture Association of America – About Us". MPAA. Retrieved May 27, 2012.
- Livingston, Tamara Elena; Caracas Garcia, Thomas George (2005). Choro: A Social History of a Brazilian Popular Music. Indiana University Press. p. 101. ISBN 0-253-21752-0.
- Barkan, Elliot (2001). Making it in America: a Sourcebook on Eminent Ethnic Americans. Santa Barbara: ABC-CLIO. p. 349. ISBN 978-1-57607-098-7.
- Lev, Peter (2013). Twentieth Century-Fox: The Zanuck-Skouras Years, 1935–1965. University of Texas Press. p. 162. ISBN 978-0-292-74447-9.
- Solomon, Aubrey (January 2002). Twentieth Century-Fox: A Corporate and Financial History. Rowman & Littlefield. pp. 19–20. ISBN 978-0-8108-4244-1.
- Wolff, Michael (May 5, 2010). The Man Who Owns the News: Inside the Secret World of Rupert Murdoch. Random House. p. 167. ISBN 978-1-4090-8679-6. Retrieved February 19, 2012.
- Fox opens Asian studio[dead link]
- Chney, Alexandra (July 29, 2014). "DreamWorks Animation Q2 Earnings Fall Short of Estimates, SEC Investigation Revealed". Variety. Retrieved July 30, 2014.
- Welch, Chris. "21st Century Fox logo unveiled ahead of News Corp split". The Verge. Retrieved May 9, 2013.
- Rushe, Dominic (June 18, 2013). "Rupert Murdoch splits empire but keeps faith in tomorrow's newspapers". The Guardian. Retrieved June 18, 2013.
- Boddy, W. (1990). Fifties Television: The Industry and Its Critics. Urbana, IL: University of Illinois Press.
- "20th Century Fox Presents". www.RUSC.com.
- Fox Folks Vol. I, No. 4, August, 1922.
- Fox Folks Vol. I, No. 4, August, 1922. Also, Vol. III, No. 7, July, 1924, p. 12 and back outside cover, and Vol. III, No. 8, August, 1924, p. 8.
- Image, DeLuxe Laboratories, Inc. check 101 to Fox Film Corporation for $2,000,000.
- "Freedman Group Buys Fox Film Laboratories". The Film Daily (New York). April 3, 1932. p. 1.
- "20th Century Fox Logo". FamousLogos.net. Retrieved May 8, 2011.
- "Is Fox really 75 this year? Somewhere, the fantastic Mr. (William) Fox begs to differ". New York Post. February 10, 2010. Retrieved December 19, 2014.
- Custen, George F., Twentieth Century's Fox: Darryl F. Zanuck and the Culture of Hollywood; New York: BasicBooks, 1997; ISBN 0-465-07619-X
- Chrissochoidis, Ilias (ed.). Spyros P. Skouras, Memoirs (1893-1953). Stanford, 2013.
- Chrissochoidis, Ilias (ed.). CinemaScope: Selected Documents from the Spyros P. Skouras Archive. Stanford, 2013.
- Chrissochoidis, Ilias (ed.). The Cleopatra Files: Selected Documents from the Spyros P. Skouras Archive. Stanford, 2013.
|Wikimedia Commons has media related to Fox Studios.|
- 20th Century Fox Studios official website
- 20th Century Fox Animation at the Big Cartoon DataBase
- 20th Century Fox at the Internet Movie Database
- 20th Century Fox from Box Office Mojo
- '20th Century Fox Presents' radio series from RUSC