MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Wardrobe Challenge …

July 15, 2007
Weekend Finals
Domestic Market Share

I Now Pronounce You Chuck and Larry celebrated an estimated $34.7 million to take a closely contested box office weekend. Also in the fray were the second weekend gross of $32.4 million for Harry Potter & the Order of the Phoenix and a debut frame of $28.2 million for the musical hijinx of Hairspray.

The session also included good returns of $370,000 for the Bollywood circuit entry Partner and a potent gross for the science-fiction rumination Sunshine of $223,000 from 10 venues. There was just OK response for the historical dramaGoya’s Ghosts of $150,000 and, in Canada, the comedy My Crazy Aunt tallied up $140,000.

Overall box office experienced a slight upturn from 2006 that was just enough to push seasonal revenues ahead of last year’s pace.

Entering the frame industry expectations were predicting that Harry Potter would prevail with Chuck and Larryclocking in with between $25 million and $30 million and Hairspray pushing hard to gross $20 million. Friday matinees tipped a far different result with the musical taking an early lead that began to dissipate as evening patrons began buying tickets.

Though there was initial concern that the two premiering pictures would appeal to similar parts of the audience and eat into each other box office, the reality proved far different. Chuck and Larry was the clear choice for young males whileHairspray drew predominantly a distaff crowd. Both films had strong opening day response and experienced slight drops on Saturday.

Meanwhile the fifth screen installment of the Harry Potter series saw its business decline by a larger than expected 58%; considerably more precipitous than it’s experienced in the past. The publication of the seventh and final book in the series likely drew away devotees and one will have to wait a week to see whether faster readers will return to the multiplex for a refresher course.

Weekend ticket sales approached $155 million that translated into a 16% rollback from seven days earlier. However, it stilled exceeded the 2006 frame when Pirates 2 held for a third weekend with $35.2 million and debuts of Monster House and Lady in the Water entered distribution with grosses of $22.2 million and $18 million.

The current weekend pushed seasonal box office to $2.62 billion compared to last year’s $2.61 billion for the same period. While the promise of a huge boost in movie going was predicted that clearly hasn’t occurred though continued incremental weekly tallies could ultimately result in a slight boost in admissions by the Labor Day deadline.

It’s premature to give Fox Searchlight the hat trick though there’s little question it’s propelled Sunshine to a hot start following of the heels of its niche successes Waitress and Once. Certainly no company can claim such terrific mileage this season on films with single word titles.

– Leonard Klady

Weekend Finals – July 20-22, 2007

Title
Distrib
Weekend
% Chan
Theaters
Cume
Wks
1
New
I Now Pronounce You Chuck & Larry
Uni
34,233,750
3495
34,233,750
1
2
1
Harry Potter & the Order of Phoenix
WB
32,511,350
-58%
4285
207,866,865
2
3
New
Hairspray
New Line
27,476,745
3121
27,476,745
1
4
2
Transformers
Par
20,514,497
-45%
3762
262,978,000
3
5
3
Ratatouille
BV
10,899,179
-39%
3402
165,519,955
4
6
4
Live Free or Die Hard
Fox
7,101,638
-37%
2727
116,267,866
4
7
5
License to Wed
WB
3,577,230
-51%
2525
38,495,133
3
8
6
1408
MGM
2,621,194
-47%
1451
67,453,524
5
9
7
Evan Almighty
Uni
2,552,890
-48%
1779
93,567,015
5
10
8
Knocked Up
Uni
2,292,640
-38%
1288
142,698,885
8
11
9
Sicko
LGF/Alliance
1,945,723
-25%
1117
19,185,853
5
12
10
Ocean’s Thirteen
WB
1,012,427
-49%
750
114,533,366
7
13
11
Fantastic Four: Rise of Silver Surfer
Fox
751,826
-54%
601
128,879,368
6
14
13
Pirates of Caribbean: At World’s End
BVI
730,059
-48%
517
306,034,458
9
15
New
Partner
Eros
584,285
58
584,285
1
16
17
La Vie en Rose
TVA/Pictureho
405,474
-25%
179
7,427,625
18
17
14
Evening
Focus
397,034
-66%
396
12,004,435
4
18
15
Shrek the Third
Par
384,110
-42%
408
318,937,940
10
19
19
Talk to Me
Focus
355,680
-11%
36
909,289
2
20
21
Rescue Dawn
MGM
349,842
-4%
57
1,117,279
3
21
12
Captivity
FreeStyle
318,545
-78%
754
2,423,760
2
22
18
Spider-Man 3
Sony
315,483
-38%
318
335,625,539
12
23
16
You Kill Me
IFC
306,609
-48%
252
2,064,987
5
24
22
Once
Fox Searchlight
288,087
-12%
112
5,541,181
10
25
New
Sunshine
Fox Searchlight
242,964
10
242,964
1
26
62
Meet the Robinsons
BV
220,955
1266%
231
97,002,175
17
27
23
Surf’s Up
Sony
190,516
-38%
241
57,329,096
7
28
New
Ma Tante Aline
Alliance
182,288
65
182,288
1
29
31
Deep Sea 3-D
WB
171,636
4%
30
30,159,876
73
30
20
Nancy Drew
WB
171,076
-56%
225
24,654,006
6
31
24
Waitress
Fox Searchlight
167,923
-38%
165
18,223,592
12
32
New
Goya’s Ghosts
IDP
159,671
49
159,671
1
33
29
Wild Hogs
BV
157,456
-18%
221
168,005,066
21
55
The Lives of Others
Sony Classics
153,721
487%
253
11,032,457
24
35
25
Nitro
Alliance
127,041
-43%
74
2,850,690
4
36
27
Disturbia
Par
115,691
-42%
190
79,886,463
15
37
34
Broken English
Magnolia
89,940
6%
39
490,890
4
38
30
Paris je t’aime
First Look
89,163
-39%
64
4,608,310
11
39
43
My Best Friend
IFC/Christal
84,728
87%
13
152,858
2
40
28
A Mighty Heart
Par Vantage
75,817
-62%
107
9,016,723
5
41
33
Introducing the Dwights
WIP
72,458
-23%
70
263,040
3
42
32
Blades of Glory
Par
66,046
-33%
139
118,425,692
17
43
RE
Hostel Part II
Lions Gate
65,634
149
17,657,661
7
44
36
Lady Chatterley
Kino
62,293
-14%
22
296,266
5
45
35
Golden Door
Miramax
57,174
-27%
33
799,673
9
46
48
Interview
Sony Classics
55,612
36%
19
119,282
2
47
40
Dinosaurs: Giants of Patagonia
Sky High
52,158
-1%
9
760,147
17
48
37
Are We Done Yet?
Sony
50,502
-30%
102
50,105,631
16
49
41
Magnificent Desolation
Imax
47,520
3%
7
20,260,872
95
50
45
Wild Safari 3-D
nWave
43,350
0%
10
14,103,937
120
51
26
Joshua
Fox Searchlight
41,456
-81%
47
442,201
3
52
38
Mr. Brooks
MGM
33,498
-46%
78
28,211,852
8
53
RE
Day Watch
Fox Searchlight
24,459
21
428,837
8
54
46
Hot Fuzz
Focus
21,682
-49%
51
23,618,786
14
55
47
28 Weeks Later
Fox
20,960
-51%
39
28,655,532
11
56
57
Paprika
Sony Classics
19,938
-20%
32
720,502
9
57
53
Sivaji
Ayngaran
19,845
-27%
6
701,864
6
58
61
Gypsy Caravan
Shadow
18,072
8%
8
164,096
6
59
54
Black Book
Sony Classics
17,105
-35%
18
4,358,593
16
60
60
Roving Mars
BV
16,853
-4%
9
7,697,434
78
Source: Nielsen EDI; MCN

Estimates – July 20-22, 2007

Title
Distributor
Gross (average)
% chan
Theaters
Cume
I Now Pronounce You Chuck & Larry
Uni
34.7 (9,930)
3495
34.7
Harry Potter & the Order of the Phoenix
WB
32.4 (7,560)
-58%
4285
207.7
Hairspray
New Line
28.2 (9,040)
3121
28.2
Transformers
Par
20.4 (5,410)
-45%
3762
262.8
Ratatouille
BV
10.9 (3,210)
-39%
3402
165.6
Live Free or Die Hard
Fox
7.2 (2,640)
-36%
2727
116.4
License to Wed
WB
3.7 (1,450)
-50%
2525
38.6
Evan Almighty
Uni
2.5 (1,390)
-49%
1779
93.5
1408
MGM
2.4 (1,660)
-51%
1451
67.3
Knocked Up
Uni
2.2 (1,270)
-41%
1715
142.6
Sicko
LGF/Alliance
1.8 (1,640)
-30%
1117
19.1
Ocean’s Thirteen
WB
1.0 (1,360)
-49%
750
114.5
Pirates of Caribbean: At World’s End
BV
.72 (1,390)
-48%
517
306
Fantastic Four: Rise of Silver Surfer
Fox
.68 (1,130)
-58%
601
129.8
Evening
Focus
.42 (1,060)
-64%
396
12
Partner
Eros
.37 (6,320)
58
0.37
Rescue Dawn
MGM
.35 (6,100)
-4%
57
1.1
Shrek the Third
Par
.34 (840)
-48%
644
318.3
Talk to Me
Focus
.33 (9,250)
-17%
36
0.88
Captivity
Lions Gate
.33 (360)
-77%
917
2.4
Weekend Total ($500,000+ Films)
$148.80
% Change (Last Year)
3%
% Change (Last Week)
-16%
Also debuting/expanding
You Kill Me
IFC
.29 (1,162)
-50%
253
2
Sunshine
Searchlight
.22 (22,340)
10
0.22
Goya’s Ghosts
IDP
.15 (3,020)
49
0.15
My Crazy Aunt
Odeon
.14 (4,030)
35
0.14
Cashback
Magnolia
12,800 (1,420)
9
0.01
David & Layla
D & L
11,500 (1,640)
7
0.01
Falling for Grace
Slow Hand
3,800 (3,800)
1
0.01

Top Limited Grossers: To July 19, 2007

Title
Distributor
Gross
Waitress
Fox Searchlig
18,055,669
Sicko
Lions Gt/Allia
17,240,130
Notes on a Scandal
Fox Searchlig
16,889,774
The Last King of Scotland
Fox Searchlig
13,987,084
The Namesake
Fox Searchlig
13,548,912
The Lives of Others
Sony Classic
10,878,736
Volver
Sony Class/S
8,667,708
Deep Sea 3-D
WB
7,844,640
The Painted Veil
WIP
7,552,537
La Vie en Rose
TVA/Pictureh
7,022,151
Away from Her
Mongrel/Lions
5,639,584
Once
Fox Searchlig
5,253,094
Curse of the Golden Flower
Sony Classic
5,046,481
Paris je t’aime
First Look
4,519,147
Black Book
Sony Classic
4,353,361
Magnificent Desolation
Imax
3,492,133
Venus
Mrmx
3,233,893
Little Children
NLC
2,987,970
Miss Potter
MGM
2,978,905
Peaceful Warrior (reissue)
Uni
2,941,659
* none greater than 756 playdates

Domestic Market Share: To July 19, 2007

Distributor (Releases)
Gross
Market Share
Paramount (14) 1092.3
20.00%
Sony (17) 880.4
16.20%
Buena Vista (14) 852.8
15.60%
Warner Bros. (21) 814.9
14.90%
Fox (15) 518.3
9.50%
Universal (11) 453.1
8.30%
MGM (14) 175.9
3.20%
Lions Gate (12) 117.9
2.20%
New Line (6) 108.9
2.00%
Fox Searchlight (10) 82.3
1.50%
Focus (4) 52.2
1.00%
Picturehouse (3) 45.2
0.80%
Miramax (6) 44.2
0.80%
Par Vantage (4) 34.3
0.60%
Sony Classics (12) 32.7
0.60%
Other * (151) 149.9
2.80%
* none greater than 0.5% 5455.3
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