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David Poland

By David Poland poland@moviecitynews.com

Posted Monday, November 17th, 1997 - Comments Off on Jackal Opens at Number One
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Jackal Opens at Number One

Got a lot of challenges to my box office prognostication throne this week, but all things considered, I don’t think anyone knocked me off the hill. Aaron Simpson did predict that The Jackal would be the top picture, but he got sucked into The Hollywood Reporter’s vortex of over-expectation, guessing at a $23 million opening. Jackal ended up taking first with just $15.6 million, much closer to my $14 million guess. Starship Troopers dropped off the face of the earth, losing 55 percent in week two to take second with $10.2 million. In third, The Little Mermaid did as Master Wok predicted, taking in $10.2 million. Marc Andreyko‘s prediction that Mermaid would come in first was under the sea.
The middle of the chart held no surprises with Bean coming fourth with $8 million. The Man Who Knew Too Little did too little business: just $4.7 million for fifth. The Horror Movie Formerly Known As “From The Makers Of Scream” (IKWYDLS) continued at a normal pace, slicing another $4.1 million off the box office pig for sixth. The Devil’s Advocate did $3.6 million for seventh. And Red Corner, about China and not a neighborhood in hell, grabbed $2.6 million for eighth.
My first surprise was that Mad City dropped so rapidly — more than 50 percent to disappear from the Top Ten in just its second week. Boogie Nights took ninth with a 33 percent drop to $2.6 million. And Eve’s Bayou, the little movie that could, stayed in the picture with $2.5 million for tenth.
One of the most contested of my predictions, a weak opening for One Night Stand, came true. The film ended up with just over 400 screens and not the 800 originally reported, probably due to multi-plexes finding room for Starship Troopers and three big new films. Soft reviews would seem likely to make this poor showing a trend for ONS’s future. New Line must be hoping that Mortal Kombat: Annihilation opens big, because if they thought the reviews for ONS were bad, just wait for these!
Any box office questions? E-mail them to me.

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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