MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Shiver Me Trimester ..

June 3 , 2007
Weekend Estimates
Domestic Market Share

The scurvy crew of Pirates of the Caribbean: At World’s End once again plundered heartiest with an estimated weekend booty of $43.7 million. However, its fiercest competition came not from a tent pole but the bawdy high concept comedy Knocked Up that grossed $29.3 million.

The frame also featured less stellar result for national debuts of the thriller Mr. Brooks with a fourth place finish of $9 million and listless returns of $1.3 million for the inspirational sage Gracie. Limited release freshmen included a substantial $46,200 from five venues for Russia sci-fi odyssey Day Watch and a three-screen gross of $15,600 for the documentary profile Mad Love.

While business didn’t sail off the edge of the world, sharp drops were anticipated following the Memorial weekend holiday. In a summer that thus far has trued to the adage: the bigger they are, the harder they fall, Pirates took a hard 62% decline on the comparative three-day spans. Overall business declined by 37% from seven days earlier and slipped 2% from 2006 when the opening salvo of The Break-Up was the first seasonal surprise with a $39.2 million box office.

There had long been an inkling that Knocked Up – a randy relationship comedy with a soft center – would be well received pitted against the summer behemoths. However, no one anticipated the film would be warmly embraced by the critics. The film both exceeded expectations and skewed unexpectedly older and female and that adds up to prospects of a more durable theatrical run.

It was no such luck for Mr. Brooks, a nasty little thriller with Kevin Costner cast against type in a malevolent role. The nagging question boiled down to whether audiences weren’t buying the actor in the role or simply weren’t buying him period. And one had the sneaking suspicion that the masses steered clear of Gracie because its upbeat arc felt just a little bit to familiar and redundant.

The slow roll out of the Irish musical-romance Once continued to surprise. Industry wisdom almost demands distribution strike while the iron is hot but with such a subtle confection there’s every suspicion an aggressive push would squander its true potential.

The latest from Bollywood – Fool In Final – proved a disappointment and one suspects the bow of the contemporary vampire yarn Rise: Blood Hunter was propelled by contractual demands rather than commercial prospects.

The frame also featured Day Watch, the Russian follow up to Night Watch that garnered positive critical response but spurted out commercially in the U.S. The new entry shows signs of repeating that scenario and one has to speculate whether Fox will make good on its past promise of investing in a third episode to be shot English-language tovarich.

by Leonard Klady

Weekend Estimates – June 1-3, 2007

Title Distributor
Gross (average)
% Chan
Theaters
Cume
Pirates of Caribbean: At World’s End
BV
43.7 (10,020)
-62%
4362
217.1
Knocked Up
Uni
29.3 (10,190)
2871
29.3
Shrek the Third
Par
26.8 (6,520)
4109
254.7
Mr. Brooks
MGM
9.0 (3,660)
2453
9
Spider-Man 3
Sony
7.6 (2,040)
-47%
3723
318.3
Waitress
Searchlight
1.9 (3,160)
-38%
605
9.3
Gracie
Picturehouse
1.3 (1,120)
1164
1.3
Bug
Lions Gate
1.2 (710)
-64%
1664
6.1
28 Weeks Later
Fox
1.1 (1,010)
-56%
1121
26.5
Disturbia
Par
1.1 (1,050)
-44%
1035
76.7
Wild Hogs
BV
.79 (2,150)
-43%
368
164.4
Georgia Rule
Uni
.58 (610)
-69%
953
18.1
Fracture
New Line
.52 (860)
-59%
608
38.1
Away from Her
Mongrel/LGF
.51 (1,660)
-52%
308
3.9
Weekend Total ($500,000+ Box Offic
$125.40
% Change (Last year)
-2%
% Change (Last wknd)
-37%
Also debuting/expanding
Once
Searchlight
.44 (7,370)
33%
60
1.07
Fool In Final
Shamaroo
84,500 (2,280)
37
0.08
Day Watch
Searchlight
46,200 (9,240)
5
0.05
Rise: Blood Hunter
IDP
23,700 (990)
24
0.02
Crazy Love
Magnolia
15,600 (5,530)
3
0.02

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