MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Transformulaic!

July 8, 2007
Weekend Finals
Domestic Market Share

Transformulaic!

Shape shifting the box office, Transformers led weekend ticket sales with an estimated $67.8 million, more than doubling its closet rival Ratatouille. Anticipated as a major summer attraction, the film was given a wide berth save for the counter-programmed comedy License to Wed that ranked fourth overall with $10.3 million.

Additionally several films fared well in exclusive debuts including the psychological thriller Joshua and Australian human comedy Introducing the Dwights. Flag waiver Rescue Dawn proved perfectly timed for Independence Day with an opening weekend of $104,000 from six venues.

Hasbro’s venerable toy chest creation Transformers staked out prime summer box office real estate and dared anyone to deny its viability as a seasonal franchise. Nonetheless, following initial trade and press screenings, the verdict was that beneath the sound and fury it was a one quadrant movie confined to young males with a domestic ceiling that would struggle to reach $200 million.

Instead, since its Monday evening bow it’s grossed in access of $150 million domestically. According to Paramount exit polls show the audience to be split almost evenly between males and females and that it’s also 50/50 for above/below 25 year olds. Its momentum has propelled the studio to the top of the domestic market share chart that Sony had held since mid-April.

Also opening mid-week was License to Wed, a comedy about a marital boot camp directed by a rather intense Protestant minister. The picture opened to just fair business in a season that’s been light on humor withKnocked Up dominating the conversation.

The frame generated slightly more than $170 million in revenues for a 9% upturn from seven days earliier. It was however 22% behind 2006 when the second installment of Pirates of the Caribbean entered the marketplace at $135.6 million followed by a $21.8 million second weekend gross for Superman Returns. The drop is nonetheless deceptive as a result of the Independence Day holiday falling on Wednesday. Mid-week business soaked up some of the current weekend’s potency and July 4, traditionally not a big movie going day, was uncharacteristically strong in movie attendance.

The temper of the season is bucking the traditional trend of big grossing films creating a snowballing effect for box office of other films in the marketplace. Rather the tent poles are experiencing steeper declines and skittering off screen at an accelerated rate. Last weekend’s freshmen Ratatouille and Live Free or Die Hardat best experienced typical declines and certainly the former had a less resilient hold than previous Pixar movies.

The oft-delayed release of Rescue Me received a last minute push with a vigorous campaign for the true life saga of a downed fighter pilot’s imprisonment and escape during the Vietnam War. Playing on bygone patriotism translated into an impressive $17,330 theater average that bodes well for the films expansion.

– Leonard Klady

Weekend Finals – July 6-8, 2007

Title
Distrib
Weekend
% Chang
Theaters
Cume
Wks
1
New
Transformers
Par
70,502,384
4011
155,405,412
1
2
1
Ratatouille
BV
29,014,293
-38%
3940
109,531,598
2
3
2
Live Free or Die Hard
Fox
17,730,149
-47%
3411
84,424,123
2
4
New
License to Wed
WB
10,422,258
2604
17,838,076
1
5
3
Evan Almighty
Uni
8,719,135
-42%
3460
78,706,785
3
6
4
1408
MGM
7,088,979
-33%
2631
53,738,325
3
7
6
Knocked Up
Uni
5,222,680
-28%
2213
132,089,425
6
8
5
Fantastic Four: Rise of Silver Surfer
Fox
4,239,993
-54%
2618
123,881,586
4
9
9
Sicko
LGF/Alliance
3,600,179
-20%
702
11,452,560
3
10
7
Ocean’s Thirteen
WB
3,525,366
-42%
2102
109,145,316
5
11
8
Pirates of Caribbean: At World’s End
BVI
3,008,962
-39%
1869
301,725,691
7
12
10
Evening
Focus
2,374,904
-32%
979
8,378,433
2
13
11
Shrek the Third
Par
1,537,841
-42%
1421
316,740,255
8
14
12
Surf’s Up
Sony
991,175
-59%
1458
56,042,318
5
15
13
Nancy Drew
WB
912,495
-51%
1124
23,247,916
4
16
14
A Mighty Heart
Par Vantage
647,288
-59%
651
8,404,897
3
17
16
La Vie en Rose
TVA/Picturehou
604,478
-1%
163
5,872,544
17
18
20
Once
Fox Searchlight
439,648
15%
132
4,563,755
8
19
15
Nitro
Alliance
418,625
-52%
122
1,905,863
2
20
18
Waitress
Fox Searchlight
387,020
-17%
227
17,447,571
10
21
17
Spider-Man 3
Sony
303,553
-50%
310
334,344,283
10
22
23
Disturbia
Par
302,010
51%
283
79,305,519
13
23
21
Wild Hogs
BV
250,034
-12%
284
167,402,930
19
24
25
You Kill Me
IFC
246,501
61%
63
828,994
3
25
22
Paris je t’aime
First Look
206,052
1%
103
4,176,797
10
26
19
Mr. Brooks
MGM
145,780
-66%
218
28,019,651
6
27
28
Deep Sea 3-D
WB
142,455
10%
35
29,358,239
71
28
24
Blades of Glory
Par
140,803
-21%
234
118,153,533
15
29
New
Rescue Dawn
MGM
110,326
6
167,872
1
30
31
Are We Done Yet?
Sony
98,144
-8%
174
49,811,781
14
31
26
Apne
Shemaroo
82,544
-43%
43
327,516
2
32
30
The Invisible
BV
80,376
-28%
151
20,436,987
11
33
44
Broken English
Magnolia
75,390
114%
16
231,821
3
34
62
Delta Farce
Lions Gate
73,686
396%
143
8,345,200
8
35
36
Golden Door
Miramax
70,928
11%
28
601,816
7
36
33
Hot Fuzz
Focus
68,566
-20%
140
23,472,882
11
37
34
Sivaji
Ayngaran
53,619
-32%
10
614,183
4
38
32
Meet the Robinsons
BV
51,675
-46%
71
96,697,389
15
39
New
Joshua
Fox Searchlight
51,233
6
51,233
1
40
39
Dinosaurs: Giants of Patagonia
Sky High
46,177
-20%
10
554,261
14
41
29
28 Weeks Later
Fox
43,474
-38%
98
28,472,453
9
42
40
Wild Safari 3-D
nWave
41,950
-10%
10
14,034,204
118
43
45
Fracture
New Line
40,812
17%
104
38,932,038
12
44
41
Paprika
Sony Classics
40,519
-8%
33
642,641
6
45
35
300
WB
36,337
-47%
70
210,592,590
18
46
59
Gypsy Caravan
Shadow
34,953
131%
14
98,882
4
47
38
Away from Her
Lions Gt/Mongr
34,645
-41%
56
5,549,589
10
48
48
The Lives of Others
Sony Classics
33,172
13%
25
10,814,343
22
49
37
Ensemble, c’est tout
Christal
32,582
-46%
14
403,927
4
50
46
Georgia Rule
Uni
32,345
2%
77
19,015,109
9
51
43
Magnificent Desolation
Imax
31,868
-17%
6
19,981,126
93
52
42
Black Book
Sony Classics
31,585
-26%
30
4,296,532
14
53
27
Hostel Part II
Lions Gate
30,919
-78%
68
17,640,371
5
54
53
Next
Par
30,127
32%
45
18,228,211
11
55
47
Roving Mars
BV
28,662
-5%
8
7,646,975
76
56
New
Introducing the Dwights
WIP
27,734
4
43,085
1
57
57
Eagle vs. Shark
Miramax
22,168
34%
17
142,513
4
58
50
Bridge to Terabithia
BV
20,349
-24%
61
82,344,637
21
59
56
Lady Chatterley
Kino
19,806
7%
4
107,689
3
60
55
Firehouse Dog
Fox
17,404
-6%
36
13,881,654
14
Source: Nielsen EDI; MCN

Estimates – July 6-8, 2007

Title Distributor
Gross (averag
% change *
Theater
Cume
Transformers Par
67.8 (16,910)
4011
152.7
Ratatouille BV
29.6 (7,520)
-37%
3940
110.1
Live Free or Die Hard Fox
17.5 (5,120)
-48%
3411
84.2
License to Wed WB
10.3 (3,970)
2604
17.7
Evan Almighty Uni
8.2 (2,370)
-46%
3460
78.2
1408 MGM
7.2 (2,730)
-33%
2631
53.8
Knocked Up Uni
5.1 (2,320)
-30%
2219
132
Fantastic Four: Rise of Silver Surf Fox
4.1 (1,560)
-55%
2618
123.7
Ocean’s Thirteen WB
3.6 (1,700)
-41%
2102
109.2
Sicko LGF/Alliance
3.3 (4,740)
-26%
702
11.2
Pirates of Caribbean: At World’s BV
3.0 (1,590)
-40%
1869
301.7
Evening Focus
2.3 (2,340)
-35%
979
8.3
Shrek the Third Par
1.3 (900)
-52%
1421
316.5
Surf’s Up Sony
.88 (600)
-64%
1458
55.9
Nancy Drew WB
.85 (760)
-55%
1124
23.2
A Mighty Heart Par Vantage
.65 (1,000)
-59%
651
8.4
Nitro Aliance
.63 (5,480)
-42%
115
2.1
La Vie en Rose TVA/Pictureho
.59 (3,550)
-4%
166
5.9
Spider-Man 3 Sony
.41 (1,320)
-32%
310
334.4
Weekend Total ($500,000+ Films)
$166.90
% Change (Last Year)
-22%
% Change (Last Week)
9%
Also debuting/expanding
You Kill Me IFC
.24 (3,840)
58%
63
0.82
Rescue Dawn MGM
.10 (17,330)
6
0.16
Joshua Fox Searchligh
47,800 (7,970)
6
0.05
Introducing the Dwights WIP
24,200 (6,050)
4
0.03
The Method Palm
1,710 (1,710)
1
0.01

Domestic Grossers: To June 28, 2007

Title
Distrubutor
Gross
Spider-Man 3
Sony
333,091,273
Shrek the Third
Par
311,065,826
Pirates of the Caribbean: At World
BV
290,742,707
300
WB
210,447,211
Wild Hogs
BV
166,659,593
Night at the Museum *
Fox
125,041,114
Blades of Glory
Par
117,702,519
Ghost Rider
Sony
117,257,346
Knocked Up
Uni
114,989,430
Fantastic Four: Rise of the Silver Surf
Fox
105,800,808
Meet the Robinsons
BV
96,438,208
Ocean’s Thirteen
WB
96,034,578
Norbit
Par
95,908,391
Bridge to Terabithia
BV
82,272,442
Disturbia
Par
78,601,385
Dreamgirls *
Par
66,370,036
The Pursuit of Happyness *
Sony
65,771,807
Stomp the Yard
Sony
61,591,536
TMNT
WB
54,149,098
Surf’s Up
Sony
51,313,901
* does not include 2006 box office

Domestic Market Share: To June 21, 2007

Distributor (Releases)
Gross
Market Share
Sony (17) 871.7 19.30%
Paramount (13) 840.4 18.60%
Buena Vista (13) 681.5 15.10%
Warner Bros. (19) 580.8 12.90%
Fox (15) 401.4 8.90%
Universal (11) 381.9 8.50%
MGM (13) 139.1 3.10%
New Line (6) 108.8 2.40%
Lions Gate (12) 102.1 2.30%
Fox Searchlight (9) 78.2 1.70%
Miramax (6) 43.8 1.00%
Picturehouse (3) 42.2 0.90%
Focus (2) 39.7 0.90%
Sony Classics (10) 32.1 0.70%
Par Vantage (4) 30.8 0.70%
Weinstein Co. (6) 26.9 0.60%
Other * (132) 109.6 2.40%
* none greater than 0.5% 4511 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