April 19, 2024
Box Office
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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
I guess there’s the answer to what other $50 m openings were left in the summer. If this is truly red state power, my money is also on WTC.
I think it’s also got a lot to do with ANCHORMAN’s popularity. That movie’s now quoted with the frequency of ANIMAL HOUSE or CADDYSHACK, and Sony got the message out that this was from the same team.
*sigh* I just had this feeling that Barnyard was going to do much better than anyone expected (even myself)…this is the Year of the Dumb (pat pending) after all. I just looked too stupid to not find an audience… kinda like Talladega Nights. 🙂
Looks like the days of movies having legs is over now that the summer has hit.. it looked for awhile that the opening weekend frontloading trend was dying down.
$40m opening for Talladega. Very nice (although expected). Ferrell has matured into the go-to guy for silly comedy .
Maybe, Wreck, I’m must impressed that he recovered from last year’s awful year.
Thanks for the analysis, David. Definitely right about comedy being king and people looking for something now that YMD and LM have subsided.
“Maybe, Wreck, I’m must impressed that he recovered from last year’s awful year.”
Ferrell went back to what he does best. It’s clear right now that audiences only respond to Ferrell in silly ensemble comedies. It will be very interesting to see how Stranger than Fiction plays.
I don’t think anybody blamed him for Bewitched or The Producers, he didn’t personally overreach in an arrogant way, he was just surrounded by badness but remained untainted.
I agree. Plus, he wasn’t sold as the star of The Producers…many people probably didn’t even know he was in the movie.
So what do people think is Miami Vice’s upper limit at this point? $80m?
lady in the water, already out of the top 10?
So, Little Miss Sunshine finally opened around here this weekend, and the theater I saw it in at a 1:40 Saturday show was packed. Granted it’s only in so many theaters in the Metro DC area, but still. I think this is the indie (dependent pick-up whatever) hit of the summer.
That and it’s by far the best time I’ve had at the movies since long before the summer began.
As much as I hate Will Ferrell and his stupid movies, this is a great result all round.
And Barnyard succeeded, i think, because of the reason I mentioned last week sometime. It was marketed at the youngens who wouldn’t have liked Cars and would’ve been scared by Monster House. Curious George followed the same path to over $50mil back in January or whever it was. I see Barnyard being very similar to Hoodwinked actually.
Ouch for Miami Vice, but the people behind John Tucker (that could’ve been taken as a joke about the Desperate Housewives’ dudes sexuality, but it’s not intended that way) won’t care because it’s already profitable, right? And if not, it will be come home video.
I am surprised The Night Listener made $1.2mil. I figured it wouldn’t even reach $2mil.