MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Bourne Again …

August 4 , 2007
Weekend Estimates
Canada: Weekend Estimates
Domestic Market Share

The third installment of the Jason Bourne saga – The Bourne Ultimatum – reigned supreme at the box office with an estimated debuted of $70.3 million. In another expansive frame three other releases had average to poor bows including canine crusader Underdog that ranked third with $12.1 million and the teen oriented Hot Rod and Bratz that squeaked into the top 10 with respective openers of $5 million and $4.4 million.

The session also saw OK results for the limited launch of the omnibus comedy-drama The Ten of $110,000 but a pair of new entries on the Bollywood circuit, Cash and Gandhi, My Father were both disappointing.

Expectations were high for the concluding (we’ll see) chapter of the spy who came in with a cold memory series. Reviews had been rapturous and tracking indicated a hefty opening of about $60 million. It’s now clear that it will set a new box office record for August (previously $67.4 million for Rush Hour 2) and with exit polls reflecting an initial audience skewing older (57% aged 30 years plus) and equivalent male-female appeal it should play strong throughout the month.

Weekend revenues should hit about $178 million for a 4% ebb from seven days earlier but a sturdy 28% boost from the 2006 frame. A year ago debuts of Talladega Nights and Barnyard led the pack with respective grosses of $47 million and $15.8 million.

While hardly cause for alarm, expectations that The Simpsons Movie would decline by half were generous. International returns were closer to the mark with an estimated $47 million frame that included a hefty $4 million launch in Mexico that spurred its global cume to $315 million in just 10 days.

Classic TV canine Underdog bowed but not wowed in his theatrical debut and the traditional string of August commercial casualties got underway with Hot Rod and Bratz. The latter film prompted several industry pundits to wonder if it would not have been more efficacious to go straight to video and avoid the crushing advertising costs to launch any film nationally.

Opening in limited wide release, the musical bio El Cantante generated a better than respectable $5,300 theater average for a $2.9 million weekend and the 100 screen launch of the literary speculationBecoming Jane (Austen) proved even more potent with slightly better than a $1 million gross.

– Leonard Klady

Weekend Estimates – August 4-5, 2007

Title
Distributor
Gross (average)
% change *
Theaters
Cume
The Bourne Ultimatum
Uni
70.3 (19,200)
3660
70.3
The Simpsons Movie
Fox
25.7 (6,550)
-65%
3925
128.7
Underdog
BV
12.1 (4,020)
3013
12.1
I Now Pronounce You Chuck & Larry
Uni
10.0 (3,030)
-48%
3290
91.2
Harry Potter & the Order of the Phoe
WB
9.5 (3,030)
-47%
3125
261
Hairspray
New Line
9.2 (2,970)
-42%
3115
78.9
No Reservations
WB
6.4 (2,660)
-45%
2425
24
Transformers
Par
5.8 (2,410)
-50%
2419
296.2
Hot Rod
Par
5.0 (1,930)
2607
5
Bratz
Lions Gate
4.4 (2,900)
1509
4.4
Ratatouille
BV
3.9 (2,020)
-47%
1940
199.2
El Cantante
Picturehouse
2.9 (5,310)
542
2.9
Live Free or Die Hard
Fox
2.1 (1,460)
-63%
1422
130.1
I Know Who Killed Me
Sony
1.1 (830)
-69%
1320
6.2
Who’s Your Caddy?
MGM
1.1 (1,110)
-60%
962
4.8
Becoming Jane
Miramax
1.0 (10,210)
100
1
Talk to Me
Focus
.68 (3,640)
-15%
187
2.8
Rescue Dawn
MGM
.56 (1,110)
-66%
505
4.2
Knocked Up
Uni
.53 (1,330)
-57%
392
146.3
Sicko
LGF/Alliance
.52 (1,490)
-56%
349
22.7
Weekend Total ($500,000+ Films)
$172.80
% Change (Last Year)
28%
% Change (Last Week)
-4%
Also debuting/expanding
The Ten
Thinkfilm
.11 (4,380)
25
0.11
Cash
Adlabs
67,600 (1,730)
39
0.07
Arctic Tale
Par Vantage
54,700 (1,950)
142%
28
0.1
Gandhi, My Father
Eros
41,500 (1,380)
30
0.04
Blame It on Fidel
Koch Lorber
7,900 (7,900)
1
0.01
The Willow Tree
New Yorker
5,300(5,300)
1
0.01

Canada – July 27 – August 2, 2007

Title
Distributor
Gross
Cume
The Simpsons Movie
Fox
11,448,179
11,448,179
Harry Potter & the Order of the Phoe
WB
3,570,315
28,336,894
Hairspray
Alliance
2,872,350
7,006,461
I Now Pronounce You Chuck & Larry
Uni
2,423,553
6,627,536
Transformers
Par
1,990,238
23,229,097
No Reservations
WB
1,207,760
1,207,760
Live Free or Die Hard
Fox
1,166,349
13,130,173
Ratatouille
BV
1,069,511
13,108,473
I Know Who Killed Me
Sony
495,881
495,881
Taxi 4
Christal
271,492
271,492
Ma Tante Aline
Alliance
268,645
661,415
Sunshine
Fox
222,381
258,029
Knocked Up
Uni
159,980
14,419,928
Rescue Dawn
MGM
156,743
228,858
Nitro
Alliance
151,657
3,544,010
Sicko
Alliance
138,400
2,400,305
Pirates of the Caribbean: At Worl
BV
127,199
28,489,171
License to Wed
WB
125,364
2,902,481
Shrek the Third
Par
119,100
30,422,354
Ocean’s Thirteen
WB
102,484
11,330,042

Domestic Market Share: August 2, 2007

Distributor (Releases)
Gross
Market Share
Paramount (14)
1142.4
19.10%
Warner Bros. (22)
919.6
15.40%
Sony (18)
887.1
14.90%
Buena Vista (14)
885.5
14.80%
Fox (18)
642.1
10.70%
Universal (12)
545.4
9.10%
MGM (14)
198.2
3.30%
New Line (7)
178.6
3.00%
Lions Gate (12)
122.6
2.10%
Fox Searchlight (11)
86.1
1.40%
Focus (4)
54.8
0.90%
Picturehouse (3)
46.3
0.80%
Miramax (6)
44.4
0.70%
Par Vantage (4)
34.5
0.60%
Sony Classics (12)
33.4
0.60%
Other * (160)
157.2
2.60%
* none greater than 0.5%
5978.2
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