MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

June 17, 2007

June 17, 2007
Weekend Estimates
Domestic Market Share

Fantastic Four: Rise of the Silver Surfer glided to an estimated $57.7 million to take command of weekend movie going. In a slightly depressed marketplace the box office gods dismissed a revivedNancy Drew that ranked seventh overall with a meager $7.2 million. Similarly specialty newcomers were largely unimpressive though the Bollywood entry Jhoom Barabar Jhoom had a better than respectable $440,000 box office from 83 theaters.Exceeding industry expectations the Fantastic Four sequel arrived with a marginally better gross than its inspiration that opened to $56 million two years ago. The studio strategy of targeting to under 18s and the first film’s appeal to a youth audience certainly translated in the picture’s launch. Going forward it may have a more difficult time pitted against family friendly movies.

Conversely the bow of Nancy Drew though perceived as soft turned out to be less of a draw than predicted. There was scant evidence of rooted interest among young girls or past generations weaned on the teenage sleuth.

Weekend ticket sales inched toward $145 million for a 6% boost from last week’s Ocean’s Thirteenframe. Still it lagged behind 2006 when the $33.7 million second weekend of Cars led with debuts ofNacho Libre and The Fast and the Furious: Tokyo Drift on its tail.

The year to date tally of $4.2 billion is roughly 3.5% improved from the comparable 2006 pace and just marginally better in terms of admissions. In that respect it conforms to viewing trends of the past two decades. However, this was supposed to be the summer that would turn around the industry’s fortunes with the troika of Pirates, Spider-Man and Shrek spearheading the onslaught. The reality is considerably less rosy in large part because those and other titles haven’t expended the base of frequent movie goers or enticed those that rarely attend to abandon the comfy perch of their sofa.

Holdover titles generally experienced 40% declines with the continued exception of Knocked Upthat has weathered buffeting from the season’s tent poles and sailed through with aplomb. It’s yet to be determined whether Ocean’s Thirteen with a bias toward an older crowd will replicate that tenacity.

In limited wide release the genre DOA: Dead or Alive lived up to half its title with a grim $460 theater average that eked out $230,000. Last weekend’s frosh Hostel Part II took a brutal 66% plunge following a disappointing launch.

Good but hardly exceptional preems were the order of the day for exclusive engagements of the New Zealand comedy Eagle vs. Shark and the documentary Gypsy Caravan. Considerably more encouraging was the expansion of the musical bio La Vie en Rose that added 57 engagements and maintained an impressive $8,230 theater average.

– Leonard Klady

Weekend Estimates – June 15-17, 2007

Title
Distributor
Gross (averag % change Theate Cume
Fantastic Four: Rise of Silver Surfer
Fox
57.7 (14,580)
3959
58.7
Ocean’s Thirteen
WB
19.1 (5,370)
-47%
3565
69.8
Knocked Up
Uni
14.6 (5,010)
-28%
2907
90.5
Pirates of Caribbean: At World’s En
BV
11.8 (3,550)
-46%
3329
273.6
Surf’s Up
Sony
9.1 (2,580)
-48%
3531
34.5
Shrek the Third
Par
8.8 (2,520)
-42%
3505
297.1
Nancy Drew
WB
7.2 (2,750)
2612
7.2
Mr. Brooks
MGM
2.9 (1,500)
-41%
1923
23.5
Hostel 2
Lions Gate
2.8 (1,200)
-66%
2350
14
Spider-Man 2
Sony
2.4 (1,330)
-44%
1822
329.9
Waitress
Searchlight
1.2 (2,010)
-23%
615
14
La Vie en Rose
TVA/Picturehouse
.65 (8,230)
265%
79
2.6
Once
Fox Searchlight
.55 (4,580)
11%
120
2.5
Weekend Total ($500,000+ Films)
$138.80
% Change (Last Year)
-6%
% Change (Last Week)
6%
Also debuting/expanding
Paris je t’aime
First Look
.44 (2,210)
0%
200
2.7
Jhoom Barabar Jhoom
Yash Raj
.36 (4,320)
83
0.36
DOA: Dead of Alive
Weinstein Co.
.23 (460)
505
0.23
Ensemble, c’est tout
Christal
73,300 (2,370)
31
0.07
Eagle vs. Shark
Miramax
20,200 (6,730)
3
0.02
Gypsy Caravan
Shadow
12,900 (6,450)
2
0.01
Fido
IDP
8,100 (4,050)
2
0.01
Strike
Laemmle/Zeller
4,400 (4,400)
1
0.01

Limited Releases: To June 13, 2007

Title
Distrubutor
Gross
Notes on a Scandal
Fox Searchlight
16,889,774
The Last King of Scotland
Fox Searchlight
13,987,084
The Namesake
Fox Searchlight
13,327,623
Waitress
Fox Searchlight
12,813,401
The Lives of Others
Sony Classics
10,508,023
Volver
Sony Class/Sevill
8,667,708
The Painted Veil
WIP
7,552,537
Deep Sea 3-D
WB
6,290,158
Away from Her
Mongrel/Lions Ga
4,758,305
Black Book
Sony Classics
3,954,455
Venus
Mrmx
3,233,893
Little Children
NLC
2,987,970
Miss Potter
MGM
2,955,981
Magnificent Desolation
Imax
2,943,177
Peaceful Warrior (reissue)
Uni
2,914,450
Ma Fille, Mon Ange
Alliance
2,342,701
Paris je t’aime
First Look
2,295,706
Perfume: Story of a Murderer
Par
2,205,318
The Host
Magnolia
2,193,660
The Wind That Shakes the Barley
IFC/Christal
2,192,312
* none greater than 710 playdates

Domestic Market Share: To June 13, 2007

Distributor (Releases)
Gross
Market Share
Sony (17)
840.4
20.50%
Paramount (13)
816.1
19.90%
Buena Vista (13)
650.4
15.90%
Warner Bros. (18)
515.1
12.60%
Universal (10)
297.1
7.20%
Fox (13)
289.4
7.10%
New Line (6)
108.5
2.60%
MGM (12)
102.6
2.50%
Lions Gate (11)
95.1
2.30%
Fox Searchlight (9)
72.9
1.80%
Miramax (5)
43.4
1.10%
Picturehouse (3)
40.3
1.00%
Focus (2)
39.5
1.00%
Sony Classics (10)
30.9
0.70%
Weinstein Co. (5)
26.4
0.60%
Par Vantage (3)
25.4
0.60%
Other * (122)
104.4
2.60%
* none greater than 0.5%
4097.9
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