MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

The Greening of America

May 20, 2007
Weekend Estimates
Domestic Market Share

The new jolly giant, Shrek the Third, broke box office records with an estimated $122.2 million debut that accounted for roughly two-thirds of all ticket sales in North America. The competition steered clear of the commercial behemoth, though rapturous reviews for the Irish import Oncegenerated sell-out business in two exclusive engagements.

Expectations for a $100 million plus onslaught for Shrek the Third were high and the animated opus did not disappoint. Barring a natural or man-made catastrophe it will rank as the third largest box office debut and bests the second Shrek‘s $108 million bow as the largest grossing non-live action opening.

Shrek the Third opted not to launch a day-and-date assault internationally, with Russia the sole major territory receiving exposure. Generally critical response was tepid and that could translate into a future primarily fueled by younger viewers, as has occurred with Spider-Man 3. The web master experienced another significant drop to rank second with $28.6 million.

Overall box office should check in with slightly less than $180 million for a 73% boost from last weekend’s business. It was also 11% improved from 2006 when opening weekends of The Da Vinci Code and Over the Hedge dominated with respective grosses of $77.1 million and $38.4 million.

The quartet of freshmen from last weekend each experienced approximately 50% declines but longer running titles such as Disturbia, Fracture and Hot Fuzz proved to be more resilient in albeit the less rungs forced upon them by the seasonal event titles.

The relative absence of adult fare has advantaged both Waitress and Away from Her with the titles continuing to expand strategically. Coincidentally both had 65% box office boosts during the current frame.

Limited debuts were largely unimpressive with no better than fair results for such American independent entries as Fay Grim, The Wendell Baker Story and Even Money. The surprise of the frame was Once, an Irish production with a musical-romantic backdrop. The film had only modest box office response when it debuted in Great Britain earlier in the year. However, a string of four star reviews generated near capacity crowds in two engagements and has ramped up expectations and sped up expansion plans in hopes of fueling that interest into a significant niche success.

by Leonard Klady

Weekend Estimates – May 18-20, 2007

Title
Distributor
Gross (averag
% change
Theaters
Cume
Shrek the Third
Par
122.2 (29,650)
4122
123.1
Spider-Man 2
Sony
28.6 (6,610)
-51%
4324
282
28 Weeks Later
Fox
5.0 (2,180)
-49%
2305
18.5
Disturbia
Par
3.6 (1,410)
-24%
2547
71.2
Georgia Rule
Uni
3.5 (1,370)
-49%
2531
12.6
Fracture
New Line
2.3 (1,420)
-23%
1607
34.5
Delta Farce
Lions Gate
1.8 (920)
-48%
1931
4.28
The Invisible
BV
1.3 (940)
-44%
1378
17.6
Hot Fuzz
Focus
1.2 (1,210)
-31%
973
21
Waitress
Searchlight
1.1 (9,310)
65%
116
2.1
Next
Par
1.0 (1,010)
-41%
1008
16.5
Blades of Glory
Par
.88 (1,080)
-39%
812
115.2
Away from Her
Mongrel/Lions
.72 (3,660)
65%
197
1.6
The Ex
MGM
.69 (740)
-51%
936
2.6
Meet the Robinsons
BV
.51 (540)
-72%
941
95.3
Weekend Total ($500,000+ Films)
$174.40
% Change (Last Year)
11%
% Change (Last Week)
73%
Also debuting/expanding
The Namesake
Fox Searchligh
.32 (1,270)
-23%
253
12.5
Fay Grim
Magnolia
69,200 (2,560)
27
0.07
Once
Fox Searchligh
59,300 (29,650)
2
0.07
The Wendell Baker Story
Thinkfilm
50,600 (2,970)
17
0.05
Even Money
FreeStyle
23,100 (3,850)
6
0.02
Severance
Magnolia
7,700 (3,850)
2
0.01
Hollywood Dreams
Rainbow
3,780 (945)
4
0.01
Flanders
IFC
1,820 (1,820)
1
0.01

Limited* Grosses: To May 17, 2007

Title
Distributor
Gross
Notes on a Scandal
Fox Searchlight
16,887,112
The Last King of Scotland
Fox Searchlight
13,984,463
The Namesake
Fox Searchlight
12,223,747
The Lives of Others
Sony Classics
9,778,929
Volver
Sony Class/Seville
8,667,072
The Painted Veil
WIP
7,552,537
Deep Sea 3-D
WB
5,300,896
Venus
Mrmx
3,233,893
Little Children
NLC
2,987,970
Peaceful Warrior (reissue)
Uni
2,914,450
Miss Potter
MGM
2,760,128
Black Book
Sony Classics
2,436,560
Magnificent Desolation
Imax
2,403,130
Ma Fille, Mon Ange
Alliance
2,334,815
Perfume: Story of a Murderer
Par
2,205,318
The Host
Magnolia
2,159,252
Guru
Adlabs
2,096,000
Salaam-E-Ishq
Eros
1,954,100
The Wind That Shakes the Barle
IFC/Christal
1,905,345
Avenue Montaigne (Fauteuils d’Orch
Thinkfilm/Seville
1,745,409
* none greater than 689 playdates

Domestic Market Share: To May 17, 2007

Distributor (releases)
Gross
Mrkt Share
Sony (16)
736.1
23.20%
Paramount (12)
511.4
16.10%
Warner Bros. (17)
460.3
14.50%
Buena Vista (12)
378.5
11.90%
Fox (13)
274.2
8.70%
Universal (9)
211.6
6.70%
New Line (6)
101.5
3.20%
MGM (11)
80.6
2.50%
Lions Gate (9)
69.5
2.20%
Fox Searchlight (7)
57.8
1.80%
Miramax (4)
43.1
1.40%
Picturehouse (2)
37.2
1.20%
Focus (2)
36.3
1.10%
Sony Classics (8)
27.2
0.90%
Weinstein Co. (5)
25.9
0.80%
Paramount Vantage (3)
25.1
0.80%
IDP (5)
21.8
0.70%
Other * (102)
72.3
2.30%
3170.4
100.00%
Be Sociable, Share!

Comments are closed.

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