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David Poland

By David Poland poland@moviecitynews.com

It's Time for Anastasia to Put Up or Shut Up

All the whining about Disney means nothing. This weekend is wide open without another truly major release in it’s way. Next week, Alien Ressurection and Flubber blow, bite and bounce into theaters. So, this is it! That said, I think that Fox’s animated Meg Ryan will do about what last year’s real Meg release, Courage Under Fire did: $14 million for first place. Last week, the big dropper was Starship Troopers with a 55 percent plunge. This week, The Jackal should combine bad word-of-mouth with an R-rating to lose 40 percent and fall to a $9.1 million second place finish. And despite all better judgment, Mortal Kombat: Annihilation should open in third with about $9 million.
My Butt-Biter-Of-The-Week could be The Rainmaker, which I’m projecting at $7 million in fourth, even though it could do much worse. I love Coppola and even I’m not that anxious to see it. The second and last week of The Little Mermaid should survive Anastasia to the tune of a 30 percent drop into fifth with $6.9 million. The fall of Starship Troopers should slow to about 35 percent with $6.5 million for sixth.
The last of our newbies is Clint Eastwood‘s Midnight in the Garden of Good and Evil, which may suffer the same box office fate as L.A. Confidential, though the buzz isn’t as good. Warner Bros. choice to start with 800 screens should limit the box office to a seventh place finish with about $5.6 million or worse. Bean isn’t exactly the cultural phenomena here that it’s been overseas, but it should pass the $40 million mark with another $5.3 million for eighth. And in ninth and tenth, the evil twins of fall, The Devil’s Advocate and I Know What You Did Last Summer, should both hover around the $2.5 million mark.
Master Wok has already sent in his box office take. He likes Anastasia, Mortal Kombat and The Jackal to lead things. E-mail me your predictions now!

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon