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David Poland

By David Poland

Box Office Hell


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13 Responses to “Box Office Hell”

  1. Hopscotch says:

    Expectations are way to high on SM3.
    I say 60M tops. The Ex will do a little bit better than that don’t you think?

  2. Can we possibly imagine a fall of $100mil?
    I imagine Georgie Rule will get some mothers day traffic (however misguided it apparently would be to take your mother to that movie) and come in around $12mil. 28WL around $16 as the others seem to think because so many teens have already seen Spider-Man 3 and probably don’t intend to see Shrek 3…? I dunno. I’m bad at box office stuff.

  3. EDouglas says:

    Hopscotch, looks like you’re right… Spider-Man 3 dropped from 59 million last Friday to around $18 million yesterday. Granted, that’s including the $10 million for midnights but it’s still a 70% drop.

  4. murdocdv says:

    EDouglas: Where are you getting the $18M number for Spidey 3 last night?

  5. MattM says:

    SBD has:
    28 Weeks Later–3.9
    Georgia Rule–1.9
    Delta Farce–1.2
    Huge drop, but Spidey’s Friday will still be bigger than everyone else’s weekend. (28 Weeks will likely drop on Saturday, while Georgia Rule will get a small bump.)

  6. anghus says:

    showbiz data has 17 million for friday

  7. anghus says:

    oh, and thank GOD Georgie Rule is tanking.
    The quicker Lohan vanishes from our collective radar, the better.

  8. EthanG says:

    Any thoughts on 28 Weeks Later? I liked the original (superior to the Dawn of the Dead remake to me, but not as fantastic as many thought) but I thought this movie was absolutely terrifying. Truly one of the scariest movies I’ve seen in a long time, and I am increasingly unmoved by nearly all modern horror films. (unless you count Pan’s Labyrinth)
    The metaphors to the war are a little too overt at times, but the film’s bleak, nihilistic vision made Children of Men look like a romp at the park to me. Most recent horror films I’ve seen in theatres (Saw, Hostel, Hills Have Eyes, Silent Hill, The Descent) pretty much all featured hoots and cheers by the audience at various times, but within minutes of the opening the rambunctious crowd at my theatre that was booing the trailer for Zombie’s Halloween remake was reduced to stunned silence that was occasionally punctuated by gasps throughout the movie.
    What’s interesting critically is this sequal is tracking a good bit under the original at RottenTomatoes, but it surpassing it at Metacritic, an indication that the highbrow critics like it more, something I would not expect.
    Anyway, 28 Weeks later is not for the faint of heart, but it’s the best horror film in a long time (again unless you count Pan’s Labyrinth or the spoofe “Behind the Mask), even if it is a bit heavy handed at times. I couldn’t catch my breath the entire movie.

  9. Wrecktum says:

    Looking at a 65%ish drop for Spidey. Seems about right to me. It’s tracking X3 closely, as I mentioned previously.

  10. Rob says:

    Jesus, it’s continually amazing – the endless stream of clutter that’s getting released and immediately dismissed week after week: Georgia Rule, Delta Farce, The Ex, Lucky You, Next, The Condemned, Kickin It Old School, Vacancy, In the Land of Women, Perfect Stranger, Slow Burn, Pathfinder, Red Line, The Reaping…and that’s just in the last month.
    Who greenlit these movies? Who thought they seemed like good ideas, even on paper?

  11. Wrecktum says:

    Well, you gotta have product out there…

  12. Cadavra says:

    Not to mention most of them were made fairly inexpensively, and between DVD and cable (plus foreign on the action/horror stuff), they’ll eventually crawl into the black.

  13. Ethan, please don’t even mention The Descent in the same breath as the vile Saw and Hostel franchises.

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