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David Poland

By David Poland

Box Office Hell – 13/08


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13 Responses to “Box Office Hell – 13/08”

  1. ThriceDamned says:

    If Casino Royale manages $10m over the weekend (DAD did $7.7m same weekend), then I have a sneaky suspicion it’s going to surpass it in the end. It’s slowly catching up to it, with better holds. Only about $4m separate them at this point.
    For some reason, I think that both Blood Diamond and Apocalypto are pegged too high. I’m guessing about $8-9m for Blood Diamond, and about 7-8 for Apocalypto. I’m excited to see Apocalypto myself (despite the funny bashing by DP), but I don’t think the general public has any interest. And what’s with the rumours that it cost $80m, instead of the $35-40m that I’d heard from the start.

  2. Stella's Boy says:

    Friday’s estimates:
    1) Apocalypto – $4.9 million
    2) The Holiday – $4.4 million
    3) Happy Feet – $3 million
    4) Blood Diamond – $2.6 million
    5) Casino Royale – $2.6 million

  3. Chucky in Jersey says:

    It sure is Box Office Hell. Of the new national releases 3 employ name-checking in their ads and the 4th cozies up to a pro-censorship/pro-blacklisting outfit.

  4. T.Holly says:

    You asked.,0,197783.story
    “Gibson’s self-financed passion project was originally budgeted through his Icon Productions at $64 million. Despite the twofold increase in shooting days, that initial figure has been whittled down to $50 million for public record. However, production execs who worked on and or regularly visited the set estimate ‘Apocalypto’s’ actual budget is closer to $75 million to $80 million.”
    I wonder, on a comparative basis, how that translates to a film without cheap labor (i.e. unions) and with stars, which is the case with “The Holiday,” and which “Hopscotch” swears was made for 120mil. Also, is there a typical director’s salary in the 75-80mil? By example, I think del Toro got 20mil to direct — that comes from here.
    Chud wondered too. There were some interesting things there to read.

  5. T.Holly says:

    I mean here:
    The quote is, “He put his entire salary back into the movie, which cost about $20 million.” I can’t tell if she saying his salary cost 20mil or the movie did, the former seems possible and later impossible.

  6. Joe Leydon says:

    Chucky: “A pro-censorship/pro-blacklisting outfit”? You mean Maxim magazine?

  7. jeffmcm says:

    I seem to recall someone on this very blog saying that Pan’s Labyrinth only cost around $20m total.
    Chucky, you’re making no sense. If “From the director of Braveheart and The Passion of the Christ” is bad marketing to you, you’re a bad marketer.

  8. Chucky in Jersey says:

    “Apocalypto” uses name-checking in the trailer and online ads. “Blood Diamond” uses name-checking in the print ads. “The Holiday” uses name-checking in the trailer and print ads.
    “Unaccompanied Minors” has in its print ads the logo of the Parents Television Council, which bullies corporations and the FCC about TV shows the right wing does not like. The PTC is an auxiliary of the Media Research Center, which blindly attacks anything not worshipful of the right wing.
    The PTC logo also appears in print ads for “The Nativity Story”, which like “Unaccompanied Minors” is a Time Warner product. Time Warner has a soft spot for the right wing — the company’s CNN Headline News employs the American-born fascist Glenn Beck.

  9. jeffmcm says:

    Glenn Beck is an idiot but CNN also employs Anderson Cooper, Lou Dobbs, James Carville, Paul Begala, and Jack Cafferty.
    Name-checking is a perfectly viable marketing tactic that you have a grudge against because it killed your father…or so I have to assume based on your weekly rant against it, Chucky. The makers of The Holiday are wise to use ‘from the director of Something’s Gotta Give’ in their ads. It tells the audience exactly what kind of movie to expect based on a previous hit.

  10. Cadavra says:

    “Glenn Beck is an idiot but CNN also employs Anderson Cooper, Lou Dobbs, James Carville, Paul Begala, and Jack Cafferty.”
    The only two on that list even remotely “liberal” are Carville and Begala, who show up occasionally to dish. Beck gets two hours nightly to spread his poison.

  11. David Poland says:

    Whoa! Cafferty is quite liberal and not afraid to show it.
    Of that group, he is the only one I still enjoy watching.

  12. jeffmcm says:

    Lou Dobbs is anti-immigrant, but he’s also anti-corporate greed. Anderson Cooper is, well, I guess I listed him because he’s gay.

  13. Cadavra says:

    Cafferty’s definitely against the war, but that doesn’t ipso facto make him a liberal. I’ve always found him to be a moderate, though he has been drifting leftward of late (as have a lot of people).

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