The rationale, however, strikes be as pure hype:
“We had many individuals and groups who had planned to see the film, but decided not to because the cloud of doubt this lawsuit brought to the film,” noted one of the film’s producers, John Sullivan.
Riiiiight. Because an obscure lawsuit based on copyright claims that few people outside of nuts like myself that follow these things ever heard about had a chilling effect on ordinary moviegoers.
Now, it might have been reasonable for Sullivan to note that the Ono lawsuit hurt the distribution efforts of the film, which it almost certainly did, and that this hurt their momentum.
But this production has always favored incoherently overwrought rhetoric over honest appraisal. Does Sullivan really expect anyone to seriously believe that any moviegoers at all avoided the film because of the lawsuit? Were they afraid that Ono would have thugs stationed outside the theaters threatening anyone who dared to watch it? Conflicted fans of both the Beatles and Ben Stein that held off declaring their allegiances until the legal issues were resolved?
“We came out of the gate with strong momentum only to have our integrity questioned by this frivolous lawsuit. While we’re thrilled with the film’s having earned nearly $8 million during its first run; we’ve heard from enough people and groups who want to see it in their theaters that we’ve agreed to re-release it this time without an undeserved cloud over its head.”
Because, of course, the only “cloud” over the film’s head was an obscure copyright lawsuit and not, well, you know, most critics panning it, sciencebloggers raking it over the coals for its distortions and slander, the ADL condemning it, and so on.
And this paragraph makes the “cloud” reasoning even more ridiculous. People obsessive enough to demand the immediate re-screening of a film which will likely be out on DVD in a few months are not the sort of people who would have stayed away the first time… based on the mere existence of a copyright lawsuit against the film.
“We will not be silenced. In fact it will have the opposite effect: we will re-release it and allow millions of Americans to go to the box office and register their vote against Ms. Ono and her attempt to keep them from watching our film.”
As John Pieret has pointed out, something is funky with the math here. Given that Expelled made about 7.5 million during its run, and ticket prices were generally in the range of 8 dollars and up, then at best the film got about a million viewers (not counting the fact that some percentage of people would have been repeats). The odds are astronomically low that any hypothetical second run would match that, let alone exceed it.
And indeed, despite all the hype, it looks like the producers know that, and that the “re-release” is not quite akin to a remastered Star Wars. At the end of the article, they note that they have 1000 prints of the film ready to go. Which is a rather far cry from “1000 different theaters already booked to show the film”: the sort of thing you might expect from an announcement about an impending re-release. As far as I can tell, this is all just hyperbolic way of announcing that the producers, free from the injunction, are now willing to lease out old prints to anyone who wants them.
Which all strikes me as sort of pathetic coming from an outfit that once seemed to sincerely believe that they would be sparking off a vast nationwide movement. We still don’t know whether the filmmakers actually broke even after their production and marketing costs.