MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Trick or Treat?

September 3, 2007
Weekend Finals
Summer Market Share

The calendar challenged folks at MGM sprang forward with Halloween as the Labor Day weekend’s top viewing choice with an estimated $33.4 million. It was also balls out for the ping pong madness of Balls of Fury that ranked third with $13.8 million and a strong screen average for the Spanish-language thriller Ladron Que Roba a Ladron on its $2.1 million tally. And while not quite living up to its title commercially, Death Sentence was close to moribund with a $5.2 million debut.

Summer’s last frame provided a 23% closing boost from the 2006 Labor Day session and provided the season with a closing tally of $4.17 billion that amounted to an 11% year-to-year increase as well as a 7% uptick in admissions.

The industry just grinned when it was announced that Halloween was ignoring a late October berth for the traditionally fallow first week of September. Entering the weekend most pundits were predicting a top end estimate of slightly more than $20 million but as Friday matinee figures began flowing in the projections rapidly accelerated to $30 million.

There also wasn’t a lot of heat generated for Balls of Fury that opened Wednesday and rang up close to $3 million pre-weekend. And a big question mark hung over Ladron Que Roba a Ladron, a tongue-in-cheek U.S. made caper movie that was looking to tap into the large and elusive Hispanic market and with a $6,100 screen average ranks close to the top in terms of response.

There was general surprise about the summer’s last burst of activity and, of course, the industry waited breathlessly for a seasonal total. Pundits are likely to pump up the volume about a double-digit boost and any plus has to be a better than a rollback. However, it’s tough to ignore prognostications of a gargantuan summer early in the year and the fact that it took three months to turn around declining numbers that had put the industry into a blue funk.

The difference boiled down to a handful of potent grossing attractions that appeared much later in the season than is normally seen. The Bourne Ultimatum, The Simpsons Movie and Rush Hour 3had been anticipated as strong titles but no one was willing to bank on the success of Hairspray orSuperbad or I Now Pronounce You Chuck & Larry.

In a sense it was a summer like any other with half the majors experiencing increased revenues and the other half taking it on the chin. And with so much of the summer consisting of high profile, very expensive sequels the math demanded revenue boosts of between 30% and 50% simply to stay even.

While some of the majors likely met minimum benchmarks, it was the likes of New Line and MGM that experienced the sort of conspicuous growth that reflected the expectations that had been predicted. And apart from Rush Hour 3 they did it without benefit of pre-sold titles. So, what lessons will be learned … and which ones will be applied?

– Leonard Klady

Weekend Estimates – August 31 – September 3, 2007

Title
Distributor
Gross (average)
%Chg
Theas
Cume
Halloween
MGM
33.4 (9,630)
3472
33.4
Superbad
Sony
15.4 (5,140)
-31%
3002
76.83
Balls of Fury
Focus
13.8 (4,520)
3052
16.8
The Bourne Ultimatum
Uni
13.1 (3,980)
-18%
3290
202.5
Rush Hour 3
New Line
10.3 (3,420)
-28%
3008
122.1
Mr. Bean’s Holiday
Uni
8.0 (4,540)
-41%
1765
21
The Nanny Diaries
MGM
6.6 (2,520)
-31%
2636
16.8
War
Lions Gate
5.3 (2,310)
-58%
2277
18.1
Death Sentence
Fox
5.2 (2,870)
1822
5.2
Stardust
Par
3.8 (2,160)
-22%
1766
31.8
The Simpson Movie
Fox
3.5 (1,700)
-37%
2066
178.4
Hairspray
New Line
3.3 (2,080)
-19%
1604
112.1
Harry Potter & the Order of the Phoeni
WB
2.4 (2,380)
-24%
1017
286.7
Ladron Que Roba a Ladron
Lions Gate
2.1 (6,090)
340
2.1
Becoming Jane
Miramax
2.0 (1,740)
-11%
1162
15.6
Underdog
BV
2.1 (1,320)
-38%
1602
39.8
I Now Pronounce You Chuck & Larry
Uni
1.6 (1,500)
-37%
1076
116.6
Ratatouille
BV
1.5 (1,420)
-3%
1068
201.1
The Invasion
WB
1.4 (1,040)
-64%
1375
14
Death at a Funeral
MGM
1.4 (5,260)
-2%
264
4.7
Transformers
Par
1.4 (1,500)
-5%
937
310.4
No Reservations
WB
1.2 (1,540)
-25%
783
40.7
Illegal Tender
Uni
.76 (1,480)
-60%
514
2.6
Resurrecting the Champ
FreeStyle
.64 (500)
-69%
1284
2.9
Weekend Total ($500,000+ Films)
$140.20
% Change (Last Year)
23%
% Change (Last Week)
7%
Also debuting/expanding
Self-Medicated
Thinkfilm
59,200 (3,700)
16
0.06
The Nines
Newmarket
29,300 (14,650)
2
0.03
Exiled
Magnolia
19,100 (9,550)
2
0.02
Vanaja
Emerging
10,500 (10,500)
1
0.01
* % change is 3-day to 3-day

Domestic Summer Market Share (May 3 – Sept 3, 2007)

Rank 2007
Distributor
Gross
Mkt Share
% Change
From 2006
Rank
2006
1
Paramount
724.6
17.40%
45%
4
2
Universal
609.5
14.60%
61%
6
3
Buena Vista
580.7
13.90%
-26%
1
4
Warner Bros.
544.7
13.10%
31%
5
5
Sony
521.3
12.50%
-26%
2
6
Fox
470.1
11.30%
-14%
3
7
New Line
251.2
6.00%
386%
14
8
MGM
169.3
4.10%
373%
11
9
Lions Gate
92.3
2.20%
36%
7
10
Focus
43.2
1.00%
33%
8
11
Fox Searchlight
34.2
0.80%
203%
15
Other
127.5
3.10%
4168.6
100.00%
11%
% Change 2006 (Other Distributors)
Paramount Vantage
-58%
Picturehouse
-47%
Sony Classics
-11%
Weinstein Co.
-81%
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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