MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Thirteen … The Hard Way

June 10, 2007
Weekend Estimates
Domestic Market Share

Ocean’s Thirteen walked away from the table with an estimated $36.2 million to take top spot in the weekend movie derby. Commercially it out stayed its welcome and audiences didn’t appear to be waddling with happy feet to Surf’s Up’s celluloid penguins that grossed $17.9 million to rank fourth or a second Hostel with a $7.9 million box office.

The frame’s best debut was extended to the French musical biopic La Vie en Rose that trilled to $168,000 from eight locations.

Overall business pushed to slightly more than $135 million that translated to a slim 1% improvement from the prior weekend’s tally. However, box office paled by 11% from 2006 when Cars bowed to $60.1 million.

Expectations for Ocean’s Thirteen had been hovering around $45 million though a studio spokesman said weekend business was only slightly lower than internal tracking. It’s expecting strong mid-weeks that will exceed first week grosses of $50 million that each of the prior two installments recorded. Outside sources maintained the result was disappointing considering its summer berth and industry tracking.

The high rollers also stepped out internationally to good but not outstanding returns that included first place finishes in the United Kingdom ($4 million) and Spain ($1 million) but its $2.8 million total in Germany ranked second to Pirates of the Caribbean.

Anticipation for Surf’s Up was more in line with its soft results and the contempo grindhouse Hostel 2 sliced up average genre grosses. One can palpably feel audience malaise as week after week serves up retreads of past cinematic glories. The current session includes five sequels in the top 10 money earners with the new Fantastic Four in the wings next week.

The desire for novelty was best expressed by the prior weekend’s freshman Knocked Up. Its 35% erosion is the best hold of the season with mid-week ticket sales that exceeded Pirates. The summer tentpoles have largely played to under-25s and Knocked Up, Waitress and Oceans mark a significant departure to that trend among wide releases.

France’s Little Sparrow Edith Piaf made a triumphant return with La Vie en Rose. The combination of emotion and music has translated well internationally where it’s earned close to $60 million. It’s also done about $1.6 million in Quebec where it debuted in March.

Also of note was the single screen launch of 12:08 East of Bucharest, the wry Romanian yarn that’s been a favorite on the festival circuit.

– Leonard Klady

Weekend Estimates – June 1-3, 2007

Title
Distributor
Gross (avera
% chang
Theat
Cume
Ocean’s Thirteen
WB
36.2 (10,160)
3565
36.2
Pirates of Caribbean: At World’s End
BV
21.8 (5,440)
-51%
4002
254.1
Knocked Up
Uni
20.1 (6,990)
-35%
2876
66.3
Surf’s Up
Sony
17.9 (5,080)
3528
17.9
Shrek the Third
Par
15.3 (3,910)
-45%
3925
281.5
Hostel 2
Lions Gate
7.9 (3,370)
2350
7.9
Mr. Brooks
MGM
4.5 (1,830)
-55%
2453
18.2
Spider-Man 2
Sony
4.4 (1,710)
-42%
2570
325.7
Waitress
Searchlight
1.6 (2,290)
-20%
708
12
Gracie
Picturehouse
.57 (520)
-58%
1093
2.5
Disturbia
Par
.52 (920)
-53%
568
77.8
Once
Fox Searchlig
.51 (5,380)
17%
95
1.8
Weekend Total ($500,000+ Films)
$131.30
% Change (Last Year)
-11%
% Change (Last Week)
1%
Also debuting/expanding
Away from Her
Mongrel/Lions
.22 (690)
-56%
316
4.4
La Vie en Rose *
Picturehouse
.17 (21,020)
8
0.17
12:08 East of Bucharest
Tartan
10,800
1
0.01
Belle Toujours
New Yorker
5,300
1
0.01

Domestic Grosses: To June 7, 2007

Title
Distrubutor
Gross
Spider-Man 3
Sony
321,280,163
Shrek the Third
Par
266,142,451
Pirates of the Caribbean: At Worl
BV
232,297,818
300
WB
209,716,307
Wild Hogs
BV
164,730,071
Night at the Museum *
Fox
135,004,732
Ghost Rider
Sony
117,153,808
Blades of Glory
Par
116,867,043
Meet the Robinsons
BV
96,096,976
Norbit
Par
95,846,693
Bridge to Terabithia
BV
81,944,676
Disturbia
Par
77,245,463
Dreamgirls *
Par
66,370,036
The Pursuit of Happyness *
Sony
65,771,807
Stomp the Yard
Sony
61,591,536
TMNT
WB
54,036,715
Music and Lyrics
WB
50,572,589
Premonition
Sony
48,857,992
Are We Done Yet?
Sony
48,797,218
Shooter
Par
46,918,941

Domestic Market Share: To June 8, 2007

Distributor (Releases)
Gross
Market Shar
Sony (16)
808
20.70%
Paramount (13)
792.6
20.30%
Buena Vista (13)
620
15.90%
Warner Bros. (17)
463.5
11.90%
Fox (13)
288.7
7.40%
Universal (10)
267.2
6.80%
New Line (6)
108.2
2.80%
MGM (12)
95.6
2.40%
Lions Gate (10)
82.9
2.10%
Fox Searchlight (9)
69.5
1.80%
Miramax (5)
43.4
1.10%
Focus (2)
39.3
1.00%
Picturehouse (3)
39.2
1.00%
Sony Classics (10)
30.4
0.80%
Weinstein Co. (5)
26.4
0.70%
Par Vantage (3)
25.4
0.70%
IDP (6)
22.1
0.60%
Other * (113)
80.3
2.00%
* none greater than 0.45%
3902.7
100.00%
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Klady

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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