MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Bean Counters

August 26, 2007
Weekend Finals
Domestic Market Share

Superbad continued as the top draw in North American multiplexes with an estimated $17.9 million that represented a 46% drop in its second weekend in release. In these dog days of summer there was only limited solace for a torrent of new product hoping to get a quick hit prior to the traditional box office doldrums that kick in post-Labor Day.

Mr. Bean’s Holiday led the newcomers with a better than anticipated $10 million debut that ranked fourth overall. The action-packed War followed with $9.7 and the droll comedy The Nanny Diariesrecorded $7.4 million. While the trio at least registered a pulse the hat trick of Resurrecting the Champ, Illegal Tender and September Dawn were casualties in all respects with respective openers of $1.7 million, $1.4 million and $570,000.

There was an equal fierce wave of movies targeted at niche or alternative crowds including Heyy Baby on the Bollywood circuit with a better than average $300,000 bow in 68 locations. The tragic non-fiction sea odyssey Dark Water looked promising with $21k at two moorings and there was a fair start of $22k for the American indie Dedication at four venues. Otherwise the premieres were disappointing ranging from The Hottest State, Ethan Hawke‘s adaptation of his novel; the terrorist themed Right at Your Door and the talk to the sea animals Eye of the Dolphin.

Overall the summer ebb continued with weekend revenues of approximately $107 million fall back 18% from the prior frame. It still represented a 5% boost from 2006 when Invincible led the field with a $17 million debut.

With the summer season closing in eight days box office is already at a gross record of $3.97 billion that exceeds summer 2006’s total by 5.6%. Paramount will easily walk away with market share bragging rights with Universal’s late surge securing it second spot.

The perennial disregard of teens and tweens in tracking studies once again reared its head with an under-evaluation of Mr. Bean’s Holiday. The character’s international appeal has been staggering but he continues to mystify Americans with puerile pantomime that’s confined him to the cognoscenti and sub-teens delighting in the cheap laughs.

Once positioned as an award’s contender The Nanny Diaries shifted gears following tepid previews and equally lukewarm reviews promoted no better than OK commercial returns. The positioning of both Resurrecting the Champ and September Dawn clearly bargained for a late seasonal toe-hold that would secure steady returns and attention in the early fall. However neither film was able to stir up much of a media spotlight and as Fitzgerald noted there are no second acts in American lives and the situation for movies is more severe by any yardstick.

– Leonard Klady

Weekend Estimates – August 24-26, 2007

Title
Distributor
Gross (average)
% change
Theaters
Cume
Superbad
Sony
17.9 (6,060)
-46%
2948
68.4
The Bourne Ultimatum
Uni
12.6 (3,440)
-36%
3679
185.4
Rush Hour 3
New Line
11.5 (3,370)
-46%
3408
108.3
Mr. Bean’s Holiday
Uni
10.0 (5,850)
x
1714
10
War
Lions Gate
9.7 (4,240)
x
2277
9.7
The Nanny Diaries
MGM
7.4 (2,830)
x
2629
7.4
The Simpson Movie
Fox
4.3 (1,660)
-37%
2600
173.4
Stardust
Par
3.9 (1,660)
-31%
2339
26.4
Hairspray
New Line
3.5 (1,730)
-23%
2016
107.5
The Invasion
WB
3.0 (1,090)
-49%
2776
11.4
Harry Potter & the Order of the Ph
WB
2.5 (1,870)
-32%
1322
283.3
Underdog
BV
2.3 (1,030)
-41%
2209
36.7
Becoming Jane
Miramax
2.0 (1,680)
-31%
1210
12.8
I Now Pronounce You Chuck & Lar
Uni
2.0 (1,300)
-45%
1529
114.2
Resurrecting the Champ
FreeStyle
1.7 (1,080)
x
1602
1.7
Illegal Tender
Uni
1.4 (2,750)
x
512
1.4
No Reservations
WB
1.3 (1,190)
-44%
1117
39.1
Transformers
Par
1.2 (1,400)
-41%
826
308.6
Ratatouille
BV
1.1 (1,160)
-32%
956
199
Death at a Funeral
MGM
1.0 (3,910)
-20%
261
2.9
The Last Legion
Weinstein Co.
.85 (440)
-69%
1935
5
Daddy Day Camp
Sony
.68 (690)
-65%
986
11.1
September Dawn
Slow Hand
.57 (670)
x
857
0.6
Weekend Total ($500,000+ Films)
$102.40
x
% Change (Last Year)
5%
x
% Change (Last Week)
-18%
x
Also debuting/expanding
Heyy Baby
Eros
.30 (4,460)
x
68
0.3
Right at Your Door
IDP
28,500 (1,430)
x
20
0.03
Eye of the Dolphin
Monteray
27,700 (290)
x
130
0.03
Dedication
Weinstein Co.
22,300 (5,570)
x
4
0.02
Deep Water
IFC
21,100 (10,550)
x
2
0.02
The Hottest State
Thinkfilm
8,200 (2,730)
x
3
0.02
Hannah Takes the Stairs
IFC
4,800 (4,800)
x
1
0.01
The Bothersome Man
Film Movement
1,820 (1,820)
x
1
0.01

Top Worldwide Releases: To August 23, 2007

Title
Distributor
Gross
Pirates of the Caribbean: At World’s End
BV
956,963,689
Spider-Man 3
Sony
890,256,837
Harry Potter & the Order of the Phoenix
WB
873,918,184
Shrek the Third
Par
738,826,903
Transformers
Par
668,937,299
300
WB
455,946,644
The Simpsons Movie
Fox
443,435,988
Night at the Museum *
Fox
394,527,282
Ratatouille
BV
359,319,553
Live Free or Die Hard
Fox
348,407,741
Ocean’s Thirteen
WB
296,725,092
Fantastic Four: Rise of the Silver Surfer
Fox
267,995,797
Wild Hogs
BV
253,368,238
Ghost Rider
Sony
229,847,486
The Bourne Ultimatum
Uni
213,882,729
The Pursuit of Happyness *
Sony
209,817,552
Mr. Bean’s Holiday
Uni/Wk Title
189,020,934
Knocked Up
Uni
166,776,153
Norbit
Par
159,215,810
Meet the Robinsons
BV
153,871,163

Domestic Market Share: To August 16, 2007

Title
Distributor
Gross
Pirates of the Caribbean: At World’s End
BV
956,963,689
Spider-Man 3
Sony
890,256,837
Harry Potter & the Order of the Phoenix
WB
873,918,184
Shrek the Third
Par
738,826,903
Transformers
Par
668,937,299
300
WB
455,946,644
The Simpsons Movie
Fox
443,435,988
Night at the Museum *
Fox
394,527,282
Ratatouille
BV
359,319,553
Live Free or Die Hard
Fox
348,407,741
Ocean’s Thirteen
WB
296,725,092
Fantastic Four: Rise of the Silver Surfer
Fox
267,995,797
Wild Hogs
BV
253,368,238
Ghost Rider
Sony
229,847,486
The Bourne Ultimatum
Uni
213,882,729
The Pursuit of Happyness *
Sony
209,817,552
Mr. Bean’s Holiday
Uni/Wk Title
189,020,934
Knocked Up
Uni
166,776,153
Norbit
Par
159,215,810
Meet the Robinsons
BV
153,871,163
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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