MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Epic .. In Name Only

January 28, 2007
Weekend Estimates
Domestic Market Share

Epic Movie spoofed its way to the top of weekend movie going charts with an estimated $18.9 million in yet another pokey frame at cinemas. The session saw additional debuts of $14.2 for the gangster yarn Smokin’ Aces in second spot and the romantic-comedy Catch and Release ranked fourth with $7.9 million.

Overall business ascended roughly 14% from the prior weekend but lagged behind this time last year by 10%. While several Oscar contenders received a box office boost, the bump paled behind the sort of utz that accompanied announcements up until just a few years ago.

While not precisely a sequel Epic Movie followed on last year’s hit Date Movie and proved imitation loves flattery with superior opening numbers that topped tracking expectations. One awaits breathlessly for the ensuing pokes at film genres that are sure to be hatched.

Projections for Smokin’ Aces were pretty much bang on while the previously shelved Catch and Release performed below par. Both titles were partially financed by Relativity Media that also hasThe Pursuit of Happyness and is emerging as a much shrewder investor than such similar bankrolling entities as Legedary and Radiant.

Weekend revenues approached roughly $115 million but the new entries were a considerable distance behind last year’s $27.7 million bow of Big Momma’s House 2.

Echoing 2006 concerns that there were few beneficiaries of Oscar largesse, the current crop of contenders mostly generated fair response to re-entries and expansions. The hoped for front runner position earmarked for Dreamgirls failed to materialize and while that film added 571 playdates post announcements, it continued to lose traction.

Warner Bros. took The Departed wide and added about $2.9 million to its bounty but clearly the one picture that is thriving in the spotlight is Pan’s Labyrinth. The Spanish-Mexican co-production grossed $4.2 million the past weekend at 823 locations and appears to be playing particular well with Hispanic and upscale audiences.

Other films receiving an award assist include The Queen, Volver, Venus and Notes on a Scandalwhile both Letters from Iwo Jima and The Last King of Scotland are struggling to hold their own in the crowded field.

The session also saw a relatively wide bow for the horror romance Blood and Chocolate that generated an indifferent $2 million from 1,200 engagements while the Bollywood circuit saw strong returns of $420,000 for Salaam-E-Ishq.

Limited preems were largely disappointing including the western yarn Seraphim Falls with roughly $140,000 from 52 shoot outs and two Manhattan engagements generated a just passable near $20,000 gross for Breaking and Entering. The documentary G.I. Jesus had an OK $2,200 for an exclusive outing but it was abject catastrophe for the comedy Funny Money with an $1,100 tally from four venues.

– Leonard Klady

Weekend Estimates – January 26-28, 2007

Title
Distributor
Gross (aver
% change
Theate
Cume
Epic Movie
Fox
18.9 (6,750)
2801
18.9
Smokin’ Aces
Uni
14.2 (6,390)
2218
14.2
Night at the Museum
Fox
9.1 (2,820)
-24%
3241
216.4
Catch and Release
Sony
7.9 (4,890)
1622
7.9
Stomp the Yard
Sony
7.7 (3,630)
-38%
2115
50.5
Dreamgirls
Par
6.4 (2,300)
-20%
2785
86.4
The Pursuit of Happyness
Sony
4.7 (1,760)
-25%
2688
152.7
Pan’s Labyrinth
Picturehouse
4.2 (5,140)
-6%
823
16
The Queen
Miramax
3.9 (2,120)
14%
1830
41.1
The Hitcher
Focus
3.4 (1,200)
-56%
2836
13.2
Freedom Writers
Par
3.4 (1,500)
-35%
2273
31.2
The Departed
WB
2.9 (1,980)
857%
1453
124.8
Notes on a Scandal
Fox Searchligh
2.5 (3,860)
111%
640
9
Babel
Par Vantage
2.5 (2,270)
6%
1090
27.1
Children of Men
Uni
2.0 (1,540)
-47%
1276
30.7
Blood and Chocolate
MGM
2.0 (1,650)
1200
2
Letter from Iwo Jima
WB
1.6 (3,950)
21%
415
4.8
Arthur and the Invisibles
MGM
1.5 (880)
-51%
1718
11.3
The Last King of Scotland
Fox Searchligh
1.5 (3,070)
-4%
501
7.6
Charlotte’s Web
Par
1.4 (1,820)
-40%
1345
78.8
Blood Diamond
WB
1.2 (1,670)
-34%
690
52.6
Volver
Sony Class/Se
1.1 (1,530)
86%
691
9.5
Alpha Dog
Uni
1.0 (980)
-66%
1005
13.9
Happy Feet
WB
.88 (1,350)
-33%
650
191.9
We Are Marshall
WB
.79 (840)
-46%
940
42.2
The Good Shepherd
Uni
.68 (940)
-67%
723
58.9
The Painted Veil
WIP
.66 (2,300)
-27%
287
4.8
Rocky Balboa
MGM
.59 (730)
-63%
811
68.7
Casino Royale
Sony
.57 (1,560)
-52%
364
165.3
Happily Never After
Lions Gate
.53 (800)
-66%
660
14.8
Weekend Total ($500,000+ Films)
$109.70
% Change (Last Year)
-10%
% Change (Last Week)
14%
Also debuting/expanding
Salaam -E-Ishq
Eros
.42 (4,870)
86
0.42
Venus
Miramax
.33 (5,640)
230%
59
0.7
Seraphim Falls
IDP
.14 (2,670)
52
0.14
Breaking and Entering
Weinstein Co.
19,840 (9,920)
2
0.02
G.I. Jesus
Wildcat
2,120 (2,120)
1
0.01
Funny Money
Thinkfilm
1,100 (275)
4
0.01

Domestic Market Share: Jan 1 – Dec 31, 2006

Distributor (releases)
Gross
Percentage
% Chang
Rank ’05
Sony (33)
1718.1
18.60%
87%
5
Buena Vista (25)
1474.4
16.00%
60%
4
Fox (28)
1398.6
15.20%
3%
2
Warner Bros. (25)
1065.9
11.60%
-23%
1
Paramount (18)
949.9
10.30%
15%
6
Universal (21)
816.6
8.90%
-19%
3
Lions Gate (18)
333.8
3.60%
17%
10
New Line (13)
253.2
2.70%
-40%
7
Weinstein Co. (14)
226.5
2.40%
383%
17
Focus (13)
184.8
2.00%
15%
12
MGM (11)
166.8
1.80%
-9%
11
Fox Searchlight (14)
165.6
1.80%
62%
14
Sony Classics (23)
59.3
0.60%
-6%
15
FreeStyle (9)
56
0.60%
N/A
N/A
Other * (290)
361.6
3.90%
-9%
9231.1
100.00%
3.80%
* DreamWorks ranked seventh; Miramax ninth in 2005

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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