MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Sequels Aren’t Equals …

June 24, 2007
Weekend Estimates
Domestic Market Share

The Evan Almighty wave crested at an estimated $32.3 million to lead all titles in the domestic marketplace. The session also featured the national bow of the Stephen King chiller 1408 in second place with a sturdy $20.4 million and a disappointing $3.9 million bow for the highly lauded saga of journalist Daniel Pearl in A Mighty Heart. Additionally there were effective limited launches of the offbeat thriller You Kill Me and the French adaptation of Lady Chatterley’s Lover. The single screen sneak peak of Michael Moore’s hot button Sicko was playing at near capacity with a three-day gross of $72,300.

Anticipation ran as high as $40 million for Evan Almighty, a loose continuation of the Jim Carreyvehicle Bruce Almighty. Promoting the film as the most expensive comedy of all-time was no asset as it’s essentially a family film with more warmth than hilarity. Crossing over to its true audience will be crucial to the film’s fortunes as its theatrical run continues.

Of late adaptation of the Stephen King canon have been disappointing both artistically and commercially. So, 1408 was a pleasant surprise as it effectively mined a tale of frightening claustrophobia. Still it’s future hinges on effective and vociferous word-of-mouth as the release schedule ramps up for higher profile entries in the coming weeks.

Revenues for the current weekend should clock in at roughly $135 million for a 9% decline from seven days later. It also abated by 5% from 2006 when Click debuted to $40 million and Cars added $23.3 million in its third lap at the box office. The year to date continues to lose traction with box office now just 3% ahead of last year and admissions relatively consistent. Box office for the summer season that began with the release of Spider-Man 3, however, lags behind last year by 7% in what was promised to be a record period with an unbeatable slate.

Despite a spate of hefty openings, tentpoles are experiencing larger than usual drops with last weekend freshman Fantastic Four: Rise of the Silver Surfer taking it on the chin by 65% andOcean’s Thirteen experiencing a 42% diminution. Among mainstream releases only Knocked Upis noticeably exceeding expectations with its cume crossing $100 million on Friday.

The preponderance of popcorn titles has been good for a handful of alternative titles such as Onceand La Vie en Rose. But the initial response for the sober-sided A Mighty Heart was decidedly less than potent with a per theater average of just a dot more than $2,900 that probably will require a marketing rethink and additional ad support.

Judging from the single screen launch of Michael Moore’s already incendiary examination of U.S. health care in Sicko, the filmmaker may once again be confronting media grilling and box office nirvana of Fahrenheit 911 proportions. It would certainly put the lie to controversy being bad for the box office.

This weekend’s limited debs displayed promise as well as the need for continued nurturing. You Kill Me, the askew tale of a hit man seeking a rebound from his alcohol addiction generated in excess of $220,000 from 37 sanctions while France’s recent Cesar winner Lady Chatterley’s Lover disrobed $34,400 from five exposures and American indie effort Broken English garnered $53,600 from seven venues.

– Leonard Klady

Weekend Estimates – June 22-24, 2007

Title
Distributor
Gross (avera
% chang
Theater
Cume
Evan Almighty
Uni
32.3 (8,980) 3604 32.3
1408
MGM
20.4 (7,640) 2678 20.4
Fantastic Four: Rise of Silver Surfer
Fox
20.2 (5,100) -65% 3963 97.7
Ocean’s Thirteen
WB
11.4 (3,310) -42% 3450 91.1
Knocked Up
Uni
10.7 (3,590) -24% 2975 109
Pirates of Caribbean: At World’s En
BV
7.3 (2,600) -41% 2802 287.1
Surf’s Up
Sony
6.6 (1,990) -29% 3309 47.2
Shrek the Third
Par
5.7 (2,020) -37% 2822 307.8
Nancy Drew
WB
4.5 (1,720) -34% 2612 16.2
A Mighty Heart
Par Vantage
3.9 (2,910) 1355 3.9
Mr. Brooks
MGM
1.5 (1,180) -48% 1290 26.6
Spider-Man 2
Sony
1.2 (1,200) -50% 1031 332.5
Waitress
Searchlight
.92 (1,740) -27% 528 15.7
Hostel 2
Lions Gate
.84 (800) -72% 1048 16.9
La Vie en Rose
TVA/Picturehou
.73 (6,130) 10% 119 3.4
Once
Fox Searchlight
.51 (4,020) -6% 127 3.3
Wild Hogs
BV
.37 (1,100) -26% 339 166.5
Weekend Total ($500,000+ Films) $141.24
% Change (Last Year) -5%
% Change (Last Week) -9%
Also debuting/expanding
Paris je t’aime First Look .28 (1,710) -43% 164 3.3
You Kill Me IFC .22 (6,050) 37 0.22
Sicko Lions Gate 72,300 (72,300) 1 0.07
Broken English Magnolia 53,600 (7,660) 7 0.05
Lady Chatterley Kino 34,400 (6,880) 5 0.03
Black Sheep IFC 14,300 (3,580) 4 0.01
Manufacturing Landscapes * Zeitgeist 9,900 (9,900) 1 0.01
Colma: The Musical IDP 9,100 (9,100) 1 0.01
Klimnt Outsider 2,100 (2,100) 1 0.01

Global Releases: To June 21, 2007

Title
Distrubutor
Gross
Spider-Man 3
Sony
876,105,810
Pirates of the Caribbean: At World’s
BV
844,260,707
300
WB
451,783,252
Shrek the Third
Par
408,340,389
Night at the Museum *
Fox
384,045,798
Wild Hogs
BV
247,161,105
Ghost Rider
Sony
229,211,006
The Pursuit of Happyness *
Sony
209,403,354
Mr. Bean’s Holiday
Uni/UIP
183,340,613
Norbit
Par
159,028,930
Ocean’s Thirteen
WB
155,118,135
Meet the Robinsons
BV
149,960,028
Music and Lyrics
WB
146,956,340
Blades of Glory
Par
134,730,452
Blood Diamond *
WB
134,413,770
Bridge to Terabithia
BV/Summit
124,354,150
Dreamgirls *
Par
117,562,903
Fantastic Four: Rise of the Silver S
Fox
109,186,537
Rocky Balboa *
MGM/Fox
106,858,915
Casino Royale *
Sony
102,970,798
* does not include 2006 box office

Domestic Market Share: To June 21, 2007

Distributor (Releases)
Gross
Market Share
Sony (17)
859.9
20.00%
Paramount (13)
830.7
19.30%
Buena Vista (13)
669.7
15.60%
Warner Bros. (19)
556.3
12.90%
Fox (14)
357.7
8.30%
Universal (10)
319.7
7.40%
New Line (6)
108.7
2.50%
MGM (12)
107.1
2.50%
Lions Gate (11)
100.4
2.30%
Fox Searchlight (9)
75.9
1.80%
Miramax (5)
43.6
1.00%
Picturehouse (3)
41.1
1.00%
Focus (2)
39.6
0.90%
Sony Classics (10)
31.5
0.70%
Weinstein Co. (6)
26.9
0.60%
Par Vantage (3)
25.4
0.60%
Other * (127)
107.3
2.60%
* none greater than 0.5%
4301.5
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