MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Yo Ho Ho!

May 28, 2007
Weekend Estimates
Domestic Market Share

Pirates of the Caribbean: At World’s End dropped anchor with an estimated $143.2 million to plunder weekend movie going. The third installment of the popular franchise accounted for about 55% of the record Memorial holiday ticket sales.

The frame also saw a wan $4 million debut for the oft-delayed horror entry Bug and potent returns for several exclusive engagements including the Japanese anime Paprika and Italian import Golden Door.

The Pirate wave began Thursday evening with a $14 million taste of a lot more booty to come. Its four-day gross easily surpassed the prior benchmark of $122.8 million set a year ago by X-Men 2and with Shrek the Third and Spider-Man 3 in support rewrote the record book for Memorial weekend box office.

Industry response was buoyant though there’s continuing concern that high profile movies could crowd out lesser known genre fare in the coming weeks. Pirates 3 – as with the other May behemoths – received largely tepid reviews that could translate into limited adult appeal. However, they certainly didn’t quell the avids and thanks to the versatility of multiplexes, its roughly three hour running time proved no obstacle to ringing up record grosses.

The picture also made a considerable onslaught internationally with openings in all major markets with the exceptions of China and India. Initial estimates of $245 million overseas boost the global box office to a record $400 million. Among the most conspicuous bows was a $26.6 launch in the U.K., $18.4 million in Korea, France delivering $17.7 million, Japan rendering $15.9 million to the war chest, Germany with $16.8 million and Russia adding $13.7 million to the coffers.

Domestic weekend lucre added up to just shy of $260 million for a tidy 13% increase for the comparative three-day portions of the span. It was also 8% improved from Memorial weekend 2006 when X-Men 2 debuted and the second weekend of The Da Vinci Code contributed $42.2 million.

Most titles took 50% plus hits including Shrek the Third and Spider-Man 3. The burn factor of seasonal tent poles has accelerated but their initial box offices have opened to higher numbers and only studio accountants know for sure the true balance once profit participants are added to the equation.

Bug figuratively got tossed into the lion’s den and made the tiniest of commercial flutters. The film was first exposed at last year’s Cannes fest and it remains a head scratcher as to why a more lucrative and earlier release date was not found for the picture.

Waitress and Away from Her have continued to mine the spare terrain for adult appeal movies with steady expansions. There was also quick response for the unexpectedly potent Once that added 18 playdates and generated a $21,150 theater average. It’s adding 10 markets next weekend.

Two Bollywood newcomers went head to head and generated comparable per screens. And while U.S. audiences favored Cheeni Kum, internationally Shootout at Lokhandwala proved to be the dominant movie. A quartet of other specialized imports generally fared well though one suspects Paprika from Japan could see sharp declines after the initial avids spiced up its debut. More encouraging is the Italian immigrant saga Golden Door – a 2006 Oscar submission – that’s already won raves and awards overseas.

by Leonard Klady

Weekend Estimates – May 25-28, 2007

Title
Distributor
Gross (average)
% chang
Theaters
Cume
Pirates of Caribbean: At World’s
BV
143.2 (32,820)
4382
157.4
Shrek the Third
Par
70.1 (16,940)
-57%
4172
221
Spider-Man 3
Sony
17.6 (4,730)
-53%
3723
307.3
Bug
Lions Gate
4.0 (2,430)
1661
4
Waitress
Searchlight
3.9 (7,700)
184%
510
6.5
28 Weeks Later
Fox
3.3 (1,630)
-53%
2013
24.4
Disturbia
Par
2.4 (1,640)
-50%
1632
74.9
Georgia Rule
Uni
2.3 (1,220)
-53%
1904
16.7
Fracture
New Line
1.5 (1,630)
-45%
907
37
Wild Hogs
BV
1.4 (3,220)
151%
426
163.2
Away from Her
Mongrel/Lions
1.0 (3,410)
21%
287
3.1
The Invisible
BV
.79 (1,730)
-51%
1378
18.4
Hot Fuzz
Focus
.65 (1,410)
-61%
462
22.3
Blades of Glory
Par
.64 (2,020)
-52%
317
116.4
Delta Farce
Lions Gate
.62 (740)
-72%
833
7.3
Weekend Total ($500,000+ Films)
$253.40
% Change (Last Year)
8%
% Change (Last Week)
13%
Also debuting/expanding
Once
Fox Searchligh
.42 (21,150)
421%
20
0.53
Cheeni Kum
Eros
.19 (4,270)
45
0.19
Shootout at Lokhandwala
Rainbow
.15 (4,640)
33
0.15
Paprika
Sony Classics
44,300 (22,150)
2
0.04
Angel-A
Sony Classics
37,100 (5,300)
7
0.04
Golden Door
Miramax
35,900 (17,950)
2
0.04
Boss of It All
IFC
9,400 (9,400)
1
0.01

International Grosses: To May 24, 2007

Title
Distributor
Gross
Spider-Man 3
Sony
770,965,080
300
WB
440,949,612
Night at the Museum *
Fox
393,645,651
Wild Hogs
BV
236,820,424
Ghost Rider
Sony
225,790,901
The Pursuit of Happyness *
Sony
209,105,741
Mr. Bean’s Holiday
Uni/Wk Title
176,801,339
Shrek the Third
Par
169,008,690
Norbit
Par
158,344,470
Music and Lyrics
WB
145,956,146
Meet the Robinsons
BV
145,630,981
Blood Diamond *
WB
134,413,770
Blades of Glory
Par
131,256,376
Bridge to Terabithia
BV/Summit
119,149,335
Dreamgirls *
Par
117,549,536
Rocky Balboa *
MGM/Fox
106,742,344
Casino Royale *
Sony
102,970,798
Happy Feet *
WB
93,972,684
TMNT
WB/Weinstein
88,726,509
Shooter
Par
88,673,463
* does not include 2006 box office

Domestic Market Share: To May 24, 2007

Distributor (releases)
Gross
Mrkt Share
Sony (16)
774.2
22.60%
Paramount (13)
669.7
19.60%
Warner Bros. (17)
461.6
13.50%
Buena Vista (13)
398.7
11.70%
Fox (13)
282.2
8.30%
Universal (9)
216.9
6.30%
New Line (6)
105.2
3.10%
MGM (11)
81.7
2.40%
Lions Gate (9)
73.1
2.10%
Fox Searchlight (8)
59.9
1.80%
Miramax (4)
43.2
1.30%
Focus (2)
38.2
1.10%
Picturehouse (2)
37.2
1.10%
Sony Classics (8)
28.3
0.80%
Weinstein Co. (5)
25.9
0.80%
Paramount Vantage (3)
25.3
0.70%
IDP (5)
21.9
0.60%
Other * (107)
74.6
2.20%
* none greater than 0.4%
3417.8
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