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David Poland

By David Poland

Box Office Hell – October 12

(updated friday 3:30p)

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12 Responses to “Box Office Hell – October 12”

  1. jeffmcm says:

    Why the hell isn’t 30 Days of Night coming out this weekend?
    It annoys the hell out of me that the other studios are basically granting Lionsgate a huge opening for Saw IV by not releasing any competition.

  2. Andrew says:

    What does 30 days of night coming out next weekend have to do with Saw IV? If anything I’d say Dan in Real Life’s opening against Saw IV is a nice bit of counter programming for adult women.

  3. Chucky in Jersey says:

    Jeffmcm, peep the release schedule on Mojo.

  4. Chucky in Jersey says:

    Sounds like jeffmcm doesn’t peep the release schedule on Mojo.

  5. NickF says:

    How much money is Elizabeth going to lose for Universal? It looks very expensive and it’s coming out at a time when I don’t think anyone cares about such a movie at all.

  6. Andrew says:

    I agree w/you. Elizabeth looks to be a box office dud. Even some of those figures seem a little high to me, maybe it’d have more of a bunch if the reviews had not been brutal.
    As for Why Did I Get Married, I think it’s the wildcard this weekend and could pull in more than expected. They’ve been doing a great marketing campaign, just targeting its main audience. Even BET has been promoting this with what seems like round the clock specials.

  7. jeffmcm says:

    I don’t understand what benefit I am supposed to get from seeing information on Boxofficemojo that I already knew.
    My point is that there’s a dearth of horror product out there which will only benefit Saw IV, which is sure to be awful and sure to guarantee a Saw V.

  8. Ian Sinclair says:

    I think ELIZABETH is going to surprise – it has a brilliantly edited trailer and it’s a crowd-pleaser.

  9. Noah says:

    Um, what crowd has it pleased? Certainly not the one I saw it with.

  10. doug r says:

    I think the best part of Saw was when Shaq deeked out Dr. Phil at the beginning…wait…that was Scary Movie 4. I’m thinking SM4 was better.

  11. Well Elizabeth only made $30mil in America so I’m not sure what numbers you’re expecting. It was never going to be huge.
    I’m thinking Box Office Prophets have a bit too much faith in We Are the Night. That doesn’t strike me as a double figure earner.

  12. er, and everyone else it would seem. Don’t know why I didn’t notice that.

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