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David Poland

By David Poland

The Foreigners

Variety reports
Pirates of the Caribbean: Dead Man’s Chest raked it in over the weekend, bowing in 11 new markets to add $62 million to its coffers.
Pic, which has now grossed $217 overseas, became the 20th Buena Vista Intl. title to cross the $200 million barrier abroad and the 10th to plunder more than $500 million worldwide.
Perhaps the only real surprise over the weekend would have come had “Pirates” been bested in any of its new territories, which included Japan, Mexico and Brazil as well as a host of smaller ones (Hungary, Portugal, Poland) and some challenging terrain for Hollywood pics (India).
There are still major openings to come: Pic has yet to open in Spain, Germany, Italy and France.
In head-to-head square-offs around the globe, “Pirates” forced Warner Bros.’ No. 2 finisher of the frame, Superman Returns, to walk the plank every time.
With no major openings on its side, Warner Bros.’ Superman Returns flew in with $16.3 million from 5,900 prints in 40 markets. International cume is $110 million.
UIP’s Over the Hedge and BVI’s Cars continued Hollywood’s roll abroad with high-profile CG-animated fare: Both crossed the $100 million mark.

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6 Responses to “The Foreigners”

  1. Direwolf says:

    I don’t know the foregin markets as well. DP, would you say this is on traclk for $500 million overseas? $600 million?

  2. Tofu says:

    Pirates 2 is tracking ahead of Finding Nemo, which made $524,911,000 overseas, so $500 million is perfectly possible for Dead Man’s Chest.
    The legs will determine if $600 million (think Goblet of Fire business) is possible, and thus becoming the third movie to ever cross the $1 billion mark.
    The third biggest opening in Japan bodes extremely well. Legs in Australia are iffy, but it will hold the largest opening and largest gross for the year there.

  3. hcat says:

    Haven’t been really paying attention to overseas this summer but has there been a case this year of a Kingdom of Heaven or King Arthur of foreign sales redeeming a soft domestic gross? Last year even the Island regained some face due to worldwide grosses but it doesn’t seem to have rescued MI3 or Superman. Was it the world cup stealing focus or are we all on the same page this year?

  4. Tofu says:

    Define ‘rescue’.
    Domestic: $132,072,926 36.9%
    Foreign: $226,300,000 63.1%
    = Worldwide: $358,372,926
    Domestic: $133,501,348 36.9%
    Foreign: $227,996,825 63.1%
    = Worldwide: $361,498,173
    The current percentage differences between the two? Eerie.

  5. PetalumaFilms says:

    CLERKS 2 did well too….right? Right? 😉

  6. KamikazeCamelV2.0 says:

    Whoa, Tofu, those numbers are creepy.
    Cars and Over the Hedge are gonna end with near identical results here in Australia. Pirates is tracking pretty similarly to the US here as well, but it hasn’t crossed over $30mil yet. Staying in Australia for a minute, My Super-Ex Girlfriend did really well down here, compared to the US. Normally a US opening of $8mil means it will open in Australia to $800,000, but instead it opened to $1.26mil, so they’ll be happy with that, but really it’s nothing significant.
    The best thing about the Aussie top 10 this week. Jindabyne and Ten Canoes continuing to make lots of money and being in the Top 10. If these two films ever make it to America (Jindabybe will – it has Laura Linney and Gabriel Byrne) see them. They’re supurb.
    THE END.

Quote Unquotesee all »

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