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David Poland

By David Poland poland@moviecitynews.com

More Than 39.2 Million Big Ones

That, my friends, is a lot of scratch. Does it make you want to Scream too? I mean, Scream 2. Thought so. And it’s a record for a December opening to boot. And under all that screaming, no one will hear the muffled cries of those who made For Richer Or Poorer ($6 million for third) and Home Alone 3 ($5.1 million for fourth), both of which marked new lows for Tim Allen and Home Alone opening weekends. Flubber dropped the expected 40 percent to add a second place winning $6.9 million to the coffers as it bounces towards a likely $75 million total.
Amistad, for which I predicted a big opening, was limited by being on only 322 screens. My bad. But in generating $4.6 million for fifth, it averaged $14,596 per screen which is tremendous. Yet, any regular Hot Button reader will immediately notice the phenomenon of Delayed Unveiling Hubris, or DUH for short. Films that are meant to make over $20 million total cannot — with very rare exceptions — do well with a platformed release. (Those opening in just L.A. and NYC for Oscar consideration only are a different story. More on that on Friday.) No one is going to want to see Amistad more in a few weeks than they do now. And the ongoing controversies surrounding the picture won’t help.
The second five was (he said, patting himself on the back) almost exactly as expected. John Grisham‘s The Rainmaker scored another $ 3.4 million for sixth. Alien: Resurrection continues its 50 percent off per week pace, clawing up $3.3 million for seventh. Anastasia continues to be a kind-hearted impostor with a 40 percent drop to $3.1 million for eighth. The Jackal rips off another $ 2.5 million for ninth. And last, but least, Midnight in the Garden of Good and Evil, itself a victim of DUH, acquires $1.8 million.
Have you noticed any box office patterns like the DUH? Send ’em to me via e-mail.

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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