MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Thick Ice …

April 1, 2007
Weekend Finals
Domestic Market Share

Blades of Glory figured an impressive estimated $33.1 million to take the gold in weekend box office viewing. There was also good news for the animated Meet the Robinsons that ranked second with $25.7 million but eyes were elsewhere for The Lookout. Additionally the stealth reissue of Peaceful Warrior had the industry buzzing and limited bows for both Danish Oscar nominee After the Wedding and 25 year old Killer of Sheep posted strong bows.

Icy antics melted the ice for Blades of Glory, the outrageous comedy teaming Will Ferrell and Jon Hederas improbable pairs skaters. The film was largely propelled by young males and saw a slight 1% dip in the transition from opening day to Saturday business. Nonetheless the opening salvo minimally suggests an $80 million domestic gross and more if it can replicate the stamina of Talladega Nights.

Robinsons tapped into the family audience effectively with 615 engagements bolstered by 3-D versions of the hijinx. Disney had an incomplete breakdown of 2-D versus 3-D strength but anticipate the latter will demonstrate at least double the overall screen average of roughly $7,500. The film also bowed day and date in a number of major international territories including England where it grossed approximately $1 million. However, generally it was an uneven translation with just Mexico giving it top ranking on a 400k box office.

Last week’s sextet of freshmen mostly got clobbered in their second weekends with four posting 60% declines and only Shooter off by less than 50%. 300 and Wild Hogs once again proved to be the most resilient continuing titles in the marketplace.

Overall ticket sales should come up slightly shy of $130 million to translate into 6% slippage from seven days earlier. The downturn was a marginally steeper 9% placed beside 2006 when the launch of Ice Age: The Meltdown was an easier winner with a $68 million box office and counter-programmer ATL bowed in third spot with $11.5 million.

The two most intriguing elements of the weekend ranked further down the charts. Peaceful Warrior, an inspirational saga with an amateur athletics backdrop, flew under the radar which is rather unusual for a picture estimating a $2 million gross. Originally released in June 2006 by Lionsgate, the film was reacquired by Universal that created a stealth campaign with the Best Buy circuit offering free tickets and promotional coin.

Very little was spent in conventional advertising, so the commercial result will definitely get the industry’s attention. (Last year’s limited release ultimately generated a $1.1 million box office). However, while there’s bound to be future experiments along these lines, there aren’t many obvious candidates suitable for this type of re-exposure especially considering the usual quick transition to video shelves.

The other unusual item is the less positive $1.9 gross for the critically embraced noir thriller The Lookout.The picture received superlative reviews that nonetheless translated into a near frigid $2,000 engagement average. It demonstrates the conundrum faced by studio specialized divisions torn between slow rollouts and more aggressive debuts that aim to bring in a broader audience and fail to initially target a picture’s core appeal crowd. When the strategy fails, it’s virtually impossible to regroup in the current sated environment.

In niche and exclusive play there wasn’t much encouragement for American indies Live Free or Die or Race You to the Bottom. However, the acclaimed After the Wedding from Denmark was off to a good start with $43,500 box office from five engagements. Even more unusual was the first U.S. theatrical engagements forKiller of Sheep that dates back to the early 1980s and has already been installed in the Library of Congress’s annual list of 25 films of distinction. Having done the first review from the Berlin Film Festival in 1981 (very favorably) the opening provides a late personal vindication. The picture was held up largely by distribution’s indifference to clearing Sheep’s musical rights that only recently became a passionate pursuit for Milestone Film.

– Leonard Klady

Weekend Finals – March 30 – April 1, 2007

Title
Distrib
Weekend
% Chang
Theater
Cume
Wks
1
New
Blades of Glory
Par
33,014,202
3372 33,014,202
1
2
New
Meet the Robinsons
BV
25,123,781
3413 25,123,781
1
3
2
300
WB
11,434,437
-42% 3004 179,941,919
4
4
1
TNMT
WB
9,232,362
-62% 3120 38,500,646
2
5
4
Wild Hogs
BV
8,662,893
-37% 3200 135,628,796
5
6
3
Shooter
Par
8,364,413
-42% 2806 27,576,332
2
7
7
Premonition
Sony
5,213,264
-45% 2474 39,455,581
3
8
6
The Hills Have Eyes II
Fox
5,213,264
-57% 2474 16,069,995
2
9
8
Reign Over Me
Sony
4,186,386
-49% 1671 13,465,869
2
10
5
The Last Mimzy
New Line
3,815,600
-62% 3017 16,007,619
2
11
New
Peaceful Warrior (reissue)
Uni
2,671,930
615 2,671,930
1
12
New
The Lookout
Miramax
2,017,795
955 2,017,795
1
13
15
The Namesake
Fox Searc
1,545,971
18% 237 4,609,030
5
14
9
Pride
Lions Gate
1,444,021
-59% 1518 5,739,228
2
15
10
Dead Silence
Uni
1,329,510
-61% 974 15,474,960
3
16
11
I Think I Love My Wife
Fox Searc
872,579
-68% 597 11,771,765
3
17
14
Amazing Grace
IDP
849,050
-42% 612 18,258,667
6
18
19
The Lives of Others
Sony Clas
610,325
-18% 259 6,557,434
8
19
21
Night at the Museum
Fox
602,610
7% 414 247,718,328
15
20
12
Bridge to Terabithia
BV
595,734
-74% 854 80,307,788
7
21
13
Ghost Rider
Sony
538,245
-68% 578 114,231,820
7
22
New
A vos marques … Party
Christal
440,441
76 440,441
1
23
31
The Wind That Shakes the Barle
IFC/Christa
370,222
133% 62 799,166
2
24
16
Zodiac
Par
369,859
-68% 273 32,448,587
5
25
17
Norbit
Par
293,733
-70% 412 94,570,382
8
26
25
The Host
Magnolia
282,774
5% 116 1,452,018
4
27
18
Music and Lyrics
WB
269,116
-69% 335 49,731,382
7
28
20
Namastey London
Eros
210,111
-64% 65 882,667
2
29
23
Happy Feet
WB
201,559
-49% 294 197,560,897
20
30
22
Breach
Uni
197,220
-61% 228 32,791,865
7
31
28
Deep Sea 3-D
WB
177,501
-13% 35 25,542,690
57
32
26
Pan’s Labyrinth
Picturehou
169,624
-32% 155 36,947,126
14
33
27
La Vie en Rose
TVA
139,271
-39% 42 877,687
3
34
34
Miss Potter
MGM
123,113
-18% 82 1,876,319
14
35
41
Avenue Montaigne (Orchestra Se
Thinkfilm/S
110,928
2% 30 961,921
26
36
29
The Pursuit of Happyness
Sony
104,783
-47% 181 164,044,795
16
37
44
Journey from the Fall
ImaginAsia
99,080
13% 6 217,724
2
38
33
The Last King of Scotland
Fox Searc
98,686
-35% 89 17,332,503
27
39
24
The Number 23
New Line
98,341
-71% 149 35,291,508
6
40
35
Charlotte’s Web
Par
89,015
-34% 190 82,898,749
16
41
38
Sharkwater
Alliance
88,880
-28% 30 273,756
1
42
60
Magnificent Desolation
Imax
80,482
174% 12 18,234,088
79
43
30
The Ultimate Gift
Bigger Pict
80,060
-58% 84 3,178,843
4
44
32
The Messengers
Sony
78,608
-49% 165 35,717,511
9
45
36
Blood Diamond
WB
65,681
-50% 128 57,312,489
17
46
67
Arthur and the Invisibles
MGM
64,028
188% 170 15,004,318
12
47
43
Because I Said So
Uni
56,445
-40% 124 42,640,890
9
48
40
The Queen
Miramax
52,950
-55% 97 56,109,603
27
49
New
After the Wedding
IFC
47,311
5 47,311
1
50
57
Into Great Silence (Die Grosse S
Zietgeist/M
46,596
20% 12 346,327
15
51
45
Epic Movie
Fox
43,098
-42% 90 39,666,075
10
52
47
The Painted Veil
WIP
41,705
-39% 52 7,932,205
15
53
52
Roving Mars
BV
39,796
-23% 13 6,586,756
62
54
46
Stomp the Yard
Sony
36,061
-49% 68 61,528,959
12
55
39
The Astronaut Farmer
WB
35,374
-70% 71 10,755,700
6
56
48
Volver
Sony Clas
34,113
-44% 60 13,762,685
22
57
37
Daddy’s Little Girls
Lions Gate
33,348
-74% 46 31,400,326
7
58
51
Reno 911!: Miami
Fox
32,795
-45% 95 20,277,437
6
59
53
Notes on a Scandal
Fox Searc
31,030
-35% 43 17,394,784
14
60
42
Black Snake Moan
Par Vantag
28,723
-72% 30 9,262,318
5
61
50
Dreamgirls
Par
28,110
-54% 68 103,063,211
16
62
73
La Tournesse de pages
Tartan/Sevi
26,786
41% 8 164,187
22
63
New
Killer of Sheep (reissue)
Milestone
26,154
2 26,154
1
64
59
Children of Men
Uni
24,265
-35% 26 35,534,455
15
65
63
Little Children
New Line
18,102
-34% 26 5,446,373
26
Source: Nielsen EDI; MCN

Estimates – March 30 – April 1, 2007

Title
Distributor
Gross (average
% chang
Theater
Cume
Blades of Glory
Par
33.1 (9,810)
3372
33.1
Meet the Robinsons
BV
25.7 (7,530)
3413
25.7
300
WB
11.2 (3,730)
-44%
3004
179.7
TNMT
WB
9.1 (2,910)
-63%
3120
38.4
Wild Hogs
BV
8.3 (2,600)
-40%
3200
135.3
Shooter
Par
7.9 (2,820)
-45%
2806
27.1
Premonition
Sony
5.1 (1,790)
-47%
2831
39.3
The Last Mimzy
New Line
4.0 (1,330)
-60%
3017
16.2
The Hills Have Eyes II
Fox
3.9 (1,580)
-60%
2465
15.8
Reign Over Me
Sony
3.7 (2,240)
-50%
1671
13.4
Peaceful Warrior (reissue)
Uni
2.0 (3,230)
615
2
The Lookout
Miramax
1.9 (2,030)
955
1.9
The Namesake
Fox Searchlight
1.5 (6,450)
17%
237
4.6
Pride
Lions Gate
1.4 (930)
-60%
1518
5.1
Dead Silence
Uni
1.3 (1,300)
-63%
974
14.5
Amazing Grace
IDP
.88 (1,440)
-40%
612
18.3
I Think I Love My Wife
Fox Searchlight
.84 (1,410)
-70%
597
11.7
Bridge to Tarabithia
BV
.54 (630)
-77%
854
80.3
The Lives of Others
Sony Classics
.53 (2,200)
-29%
241
6.5
Ghost Rider
Sony
.51 (880)
-70%
578
114.2
Weekend Total ($500,000+ Films)
$123.40
% Change (Last Year)
-9%
% Change (Last Week)
-6%
Also debuting/expanding
After the Wedding
IFC
43,500 (8,700)
5
0.04
Killer of Sheep
Milestone
20,700 (10,350)
2
0.02
Radiant City
Odeon
12,100 (6,050)
2
0.01
Live Free or Die
Thinkfilm
10,600 (2,120)
5
0.01
Race You to the Bottom
Regent
1,840 (1,840)
1
0.01

Domestc Grosses – Jan 1 – March 29, 2007

Title
Distributor
Gross
300
WB
168,507,482
Night at the Museum *
Fox
131,293,564
Wild Hogs
BV
126,965,903
Ghost Rider
Sony
113,693,575
Norbit
Par
94,276,649
Bridge to Terabithia
BV
79,712,054
Dreamgirls *
Par
65,970,706
The Pursuit of Happyness *
Sony
65,528,342
Stomp the Yard
Sony
61,492,898
Music and Lyrics
WB
49,462,266
Because I Said So
Uni/Seville
42,584,445
Epic Movie
Fox
39,622,977
Freedom Writers
Par
36,643,426
Pan’s Labyrinth *
Picturehouse
36,208,861
Smokin’ Aces
Uni
35,742,305
The Messengers
Sony
35,638,903
The Number 23
NLC
35,193,167
Children of Men *
Uni
34,427,386
Premonition
Sony
34,242,317
Breach
Uni
32,594,645
* does not include 2006 box office

Domestic Market Share: Jan 1 – March 22, 2007

Distributor (releases)
Gross
Percentage
Sony (10)
312.7
18.00%
Paramount (8)
252.7
14.50%
Warner Bros. (13)
241.4
13.90%
Fox (9)
210.5
12.10%
Buena Vista (10)
178.9
10.30%
Universal (6)
178.3
10.20%
MGM (8)
76.3
4.40%
Lions Gate (4)
47.2
2.70%
New Line (4)
44.4
2.60%
Picturehouse (2)
35.3
2.00%
Fox Searchlight (5)
30.9
1.80%
Miramax (2)
30.3
1.70%
Par Vantage (2)
22.5
1.30%
Sony Classics (4)
16.9
1.00%
Focus (1)
16.4
0.90%
IDP (3)
12.9
0.70%
Other * (56)
33.2
1.90%
*none greater than 0.45%
1740.8
100.00%
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Klady

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