
Blades of Glory
Synopsis
When rivalry between the world's best men's figure skaters - sex addicted, improvisational Chazz Michael Michaels and germophobic, precise Jimmy MacElroy - breaks into a fight on the awards platform, they're banned from the event for life. Three years later, desire for a gold medal and a careful reading of the rules lead them to compete as skating's first male-male pair. Can they overcome mutual dislike, limited time to prepare, their coach's secret past, and the dirty tricks of their main opponents, the Van Waldenberg siblings? The key to victory or defeat may lie in the attraction of the virginal Jimmy toward Katie, the Van Waldenbergs' little sister.
Production Budget Analysis
What was the production budget for Blades of Glory?
Directed by Josh Gordon, Will Speck, with Will Ferrell, Jon Heder, Will Arnett leading the cast, Blades of Glory was produced by DreamWorks Pictures with a confirmed budget of $53,000,000, placing it in the mid-budget category for comedy films.
With a $53,000,000 budget, Blades of Glory sits in the mid-range of studio releases. Marketing costs for a wide release at this level typically add $30–60 million, putting the break-even point near $132,500,000.
Budget Comparison — Similar Productions
• 16 Blocks (2006): Budget $55,000,000 | Gross $65,664,721 → ROI: 19% • Any Given Sunday (1999): Budget $55,000,000 | Gross $100,230,832 → ROI: 82% • Angela's Ashes (1999): Budget $50,000,000 | Gross $13,042,112 → ROI: -74% • All the Pretty Horses (2000): Budget $57,000,000 | Gross $18,133,495 → ROI: -68% • 15 Minutes (2001): Budget $60,000,000 | Gross $56,359,980 → ROI: -6%
Key Budget Allocation Categories
▸ Talent Salaries & Producing Deals Established comedic talent can command $15–20 million per film, with top-tier stars earning even more through producing credits and backend deals. Comedy ensembles multiply this cost across several well-known performers.
▸ Production & Location Filming While comedies generally avoid the VFX costs of action films, location shooting in recognizable cities or exotic locales adds meaningful production expense.
▸ Marketing & P&A (Prints & Advertising) Comedies rely heavily on marketing to build opening-weekend momentum. Studios typically spend 50–100% of the production budget on marketing, with comedy trailers and social media campaigns being particularly expensive.
Key Production Personnel
CAST: Will Ferrell, Jon Heder, Will Arnett, Amy Poehler, Jenna Fischer Key roles: Will Ferrell as Chazz Michael Michaels; Jon Heder as Jimmy MacElroy; Will Arnett as Stranz Van Waldenberg; Amy Poehler as Fairchild Van Waldenberg
DIRECTOR: Josh Gordon, Will Speck CINEMATOGRAPHY: Stefan Czapsky MUSIC: Theodore Shapiro EDITING: Richard Pearson PRODUCTION: DreamWorks Pictures, MTV Films, Red Hour, Smart Entertainment FILMED IN: United States of America
Box Office Performance
Blades of Glory earned $118,594,548 domestically and $-394,548 internationally, for a worldwide total of $118,200,000. The film skewed heavily domestic (100%), suggesting strong North American appeal.
Break-Even Analysis
Using the industry-standard 2.5x multiplier (P&A + exhibitor shares of 40–50% + distribution fees), Blades of Glory needed approximately $132,500,000 to break even. The film fell $14,300,000 short in theatrical revenue. Ancillary streams (home media, streaming, TV) may have bridged the gap.
Return on Investment (ROI)
Revenue: $118,200,000 Budget: $53,000,000 Net: $65,200,000 ROI: 123.0%
Profitability Assessment
VERDICT: Profitable
Blades of Glory delivered a solid return, earning $118,200,000 worldwide on a $53,000,000 budget (123% ROI). Combined with ancillary revenue, the film was a financial positive for DreamWorks Pictures.
INDUSTRY IMPACT
PRODUCTION NOTES
▸ Production
The film was based on Busy Philipps' idea and she worked on the screenplay. However, in an oral history about the movie for Nerdist, Craig Cox fully attributed the idea of Blades of Glory to his brother, Jeff Cox. The oral history has since been updated with information about Philipps' contributions. Seth Rogen has also said that he and his writing partner Evan Goldberg wrote a draft of the screenplay that included some of the "biggest jokes" featured in the finished film, but they were ultimately fired and did not receive any credit.
All of the scenes at the National Figure Skating Championships and World Wintersport Games were shot at the Los Angeles Memorial Sports Arena. The stadium used for the outside shoots is the Montreal Olympic Stadium, built for the 1976 Olympics. The outdoor chase scenes were also shot on-location in Montreal. The building used for athlete housing in Montreal was the unique Habitat 67, built for Expo 67. The film was delayed for a small undetermined period of time when Jon Heder broke his ankle while doing a skating program for the film.
AWARDS & RECOGNITION
Summary: 3 wins & 10 nominations total
CRITICAL RECEPTION
Review aggregation website Rotten Tomatoes gave the film an approval rating of 70% based on 188 reviews, with an average rating of 6.3/10. The site's critical consensus reads, "Thanks to the spirited performances of a talented cast – particularly Will Ferrell and Jon Heder as rivals-turned-teammates – Blades of Glory successfully spoofs inspirational sports dramas with inspired abandon." On Metacritic the film has a weighted average score of 64 out of 100, based on 35 critics, indicating "generally favorable" reviews. Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.
The Monthly critic Luke Davies accepted the film as a fun romp, comparing it to Will Ferrell's previous movies Anchorman: The Legend of Ron Burgundy and Talladega Nights: The Ballad of Ricky Bobby and wrote positively of Ferrell's performance, describing that "there is a parodic exhilaration to everything Ferrell does; there's always the sense that any scene is precariously close to being a blooper reel." However, Davies conceded that, like the other two films, the plot was "formulaic ... [with] an obviousness to the set-ups, a no-nonsense compression, a sometimes clunky transition from one sequence to the next" but that it was the film's ability to "venture to fantastically absurd places – to set aside the rapid and hokey forward movement – and there to idle in neutral, in zones of pure comic exploration" and offer "moments of expansive hilarity ... that made the films worthwhile."









































































































































































































































































































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