In the United States and Canada, the film was projected to gross $30–40 million from 3,659 theaters in its opening weekend, with some projections having it as high as $50 million or as low as $25 million. The week of its release, Fandango reported the film was the highest pre-seller of any Tarantino film. The film made $16.9 million on its first day, including $5.8 million from Thursday night previews (the highest total of Tarantino's career). It went on to debut to $41.1 million, finishing second behind holdover The Lion King and marking Tarantino's largest opening. Comscore reported that 47% of audience members went to see the film because of who the director was (compared to the typical 7%) and 37% went because of the cast (compared to normally 18%). The film grossed $20 million in its second weekend, representing a "nice" drop of just 51% and finishing third, and then made $11.6 million and $7.6 million the subsequent weekends. In its fourth weekend the film made $5 million, bringing its running domestic total to $123.1 million, becoming the second-highest of Tarantino's career behind Django Unchained. In its ninth weekend, its global total earnings reached $329.4 million, surpassing Inglourious Basterds to become Tarantino's second-highest global grosser behind Django Unchained.
Tarantino told cinematographer Robert Richardson, "I want it to feel retro but I want it to be contemporary." Richardson shot in Kodak 35mm with Panavision cameras and lenses, in order to weave time periods. For Bounty Law they shot in black and white, and brief sequences in Super 8 and 16mm Ektachrome. In the film, Lancer was shot on a retrofitted Western Street backlot at Universal Studios, designed by Ling. Richardson crossed Lancer with Alias Smith and Jones for the retro-future look Tarantino wanted. The way they filmed Lancer was not possible in 1969, but Tarantino wanted his personal touch on it. Richardson said that filming the movie touched him personally, "The film speaks to all of us... We are all fragile beings with a limited time to achieve whatever it is we desire... that at any moment that place will shift... So take stock in life and have the courage to believe in yourself."
More InfoIn January 2018, DiCaprio signed on, taking a pay cut to collaborate with Tarantino again. Al Pacino was being considered for a role. On February 28, 2018, the film was titled Once Upon a Time in Hollywood, with Pitt cast in the role Cruise was also up for. DiCaprio and Pitt were each paid $10 million. In March 2018, Robbie, who had expressed interest in working with Tarantino, signed to co-star as Sharon Tate, while Zoë Bell confirmed she would appear. In April 2018, Jessica Lange was in talks to play Mary Alice Schwarzs, but dropped out and Brenda Vaccaro replaced her. In May 2018, Burt Reynolds, Tim Roth, Kurt Russell, and Michael Madsen joined the cast. Timothy Olyphant was also cast. In June 2018, Damian Lewis, Luke Perry, Emile Hirsch, Dakota Fanning, Clifton Collins Jr., Keith Jefferson, Nicholas Hammond, Pacino, and Scoot McNairy joined the cast. Spencer Garrett, James Remar, Brenda Vaccaro, and Mike Moh were announced in July. In August 2018, Damon Herriman as Charles Manson, and Lena Dunham, Austin Butler, Danny Strong, Rafał Zawierucha, Rumer Willis, Dreama Walker, and Margaret Qualley were cast.
More InfoIn a 2006 global industry survey by ACNielsen in 42 international markets, Pitt, together with Jolie, were found to be the favorite celebrity endorsers for brands and products worldwide. Pitt has appeared in several television commercials. For the U.S. market, he starred in a Heineken commercial aired during the 2005 Super Bowl; it was directed by David Fincher, who had directed Pitt in Seven, Fight Club, and The Curious Case of Benjamin Button. Other commercial appearances came in television spots including Acura Integra, in which he was featured opposite Russian model Tatiana Sorokko, as well as SoftBank, and Edwin Jeans. On June 2, 2015, the minor planet 29132 Bradpitt was named in his honor.
More InfoTarantino's directive was to turn Los Angeles of 2018 into Los Angeles of 1969 without CGI. For this, Tarantino tapped into previous collaborators for production: editor Fred Raskin, cinematographer Robert Richardson, sound editor Wylie Stateman and makeup artist Heba Thorisdottir. He also brought first-time collaborators, production designer Barbara Ling, based on her work in recreating historical settings in The Doors, and costume designer Arianne Phillips, who had a strong client list to her name including Tom Ford, James Mangold and Madonna.
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