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Leonard Klady

By Leonard Klady Klady@moviecitynews.com

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Weekend Estimates – December 8-10, 2006

Title Distributor Gross (average) % change Theaters Cume
Apocalypto BV 14.3 (5,790) 2465 14.3
The Holiday Sony 13.3 (5,080) 2610 13.3
Happy Feet WB 12.9 (3,530) -27% 3650 137.9
Casino Royale Sony 9.0 (2,840) -41% 3161 129.1
Blood Diamond WB 8.4 (4,410) 1910 8.4
Déjà vu BV 6.1 (2,220) -44% 2742 53.1
Unaccompanied Minors WB 6.1 (2,190) 2775 6.1
The Nativity Story New Line 5.3 (1,710) -33% 3083 15.7
Deck the Halls Fox 4.0 (1,440) -41% 2766 30.1
The Santa Clause 3 BV 3.3 (1,470) -33% 2226 77.2
Borat Fox 2.5 (1,590) -47% 1594 120.2
Stranger Than Fiction Sony 1.5 (1,190) -55% 1266 39.2
Turistas Fox 1.3 (820) -64% 1572 5.8
The Queen Miramax .89 (1,420) -35% 628 24.6
Van Wilder: The Rise of Taj MGM .87 (440) -62% 1979 3.8
Flushed Away Par .82 (780) -63% 1048 61.2
Bobby MGM .61 (760) -70% 804 10.5
The Fountain WB .51 (800) -71% 636 9.4
Weekend Total ($500,000+ Films) $89.68
% Change (Last Year) -23%
% Change (Last Week) 2%
Also debuting/expanding
Volver Sony Classics .33 (7,570) -13% 44 2.4
The History Boys Fox Searchlight .21 (4,180) 152% 50 0.51
Guadalope Slow Hand .22 (990) 225 0.22
Screamers Rocky Mountain 24,200 (6,050) 4 0.02
Inland Empire 518 Media 19,700 (19,700) 1 0.02
Ever Again Rocky Mountain 8,420 (700) 12 0.01
Family Law IFC 4,940 (2,470) 2 0.01

Top Releases: To December 7, 2006

Title Distributor Gross
Pirates of the Caribbean: Dead Man’s Chest BVI 423,315,812
Cars BVI 224,308,950
X-Men: The Last Stand Fox 234,362,462
The Da Vinci Code Sony 217,988,137
Superman Returns WB 200,166,555
Ice Age: The Meltdown Fox 195,330,621
Over the Hedge Par 155,562,848
Talladega Nights: Legend of Ricky Bobby Sony 149,082,501
Click Sony 137,791,464
Mission: Impossible III Par 133,930,344
Happy Feet WB 125,028,428
The Devil Wears Prada Fox 124,737,665
Casino Royale Sony 120,093,596
The Break-Up Uni 118,778,358
The Departed WB 118,302,071
Borat  Fox 117,694,569
Scary Movie 4 Weinstein Co. 90,710,620
Failure to Launch Par 88,915,704
Inside Man Uni 88,593,474
Open Season Sony 84,321,490

Domestic Market Share: To December 7, 2006

Distributor (releases) Gross Percentage
Sony (31) 1531.7 18.20%
Buena Vista (24) 1404.9 16.70%
Fox (26) 1206.7 14.40%
Warner Bros. (20) 931.9 11.10%
Paramount (15) 858.4 10.20%
Universal (19) 780.2 9.30%
Lions Gate (18) 332.7 4.00%
Weinstein Co. (14) 226.2 2.70%
New Line (13) 225.9 2.70%
Focus (13) 184.7 2.20%
Fox Searchlight (13) 162.8 1.90%
MGM (9) 105.3 1.20%
FreeStyle (9) 55.8 0.70%
Sony Classics (22) 54.9 0.70%
Other * (264) 340.3 4.00%
* none greater than 0.5% 8284.5 100.00%
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Klady

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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