MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

October 21, 2007

October 21, 2007
Weekend Estimates
Domestic Market Share

Weekend Estimates – October 19-21, 2007

Title
Distributor
Weekend
% change
Theater
Cume
30 Days of Nights
Sony
15.8 (5,540)
2855
15.8
Why Did I Get Married?
Lions Gate
11.7 (5,770)
-45%
2034
38.5
The Game Plan
BV
8.2 (2,480)
-26%
3301
69.2
Michael Clayton
WB
7.0 (2,700)
-33%
2585
21.9
The Comebacks
Fox
5.7 (2,020)
2812
5.7
Gone Baby Gone
Miramax
5.6 (3,290)
1713
5.6
We Own the Night
Sony
5.4 (2,290)
-50%
2362
19.7
Nightmare Before Christmas 3D (reissue
BV
5.2 (9,250)
564
5.2
Rendition
New Line
4.0 (1,770)
2250
4
The Heartbreak Kid
Par
3.8 (1,370)
-48%
2782
32
Elizabeth: The Golden Age
Uni
3.1 (1,550)
-49%
2006
11.2
Across the Universe
Sony
2.7 (2,800)
-30%
960
16.8
The Kingdom
Uni
2.4 (1,380)
-48%
1730
44
Into the Wild
Par Vantage
2.2 (3,310)
135%
658
6.5
Things We Lost in the Fire
Par
1.5 (1,330)
1142
1.5
The Darjeeling Limited
Fox Searchlight
1.3 (6,580)
23%
202
3.9
Resident Evil: Extinction
Sony
1.0 (880)
-61%
1183
50
Good Luck Chuck
Lions Gate
.69 (810)
-65%
852
34.2
Lust, Caution
Focus
.60 (4,800)
-1%
125
2.1
3:10 to Yuma
Lions Gate
.55 (900)
-65%
613
52.8
Assassination of Jesse James …
WB
.54 (1,790)
26%
301
2.2
Sarah Landon & the Paranormal
FreeStyle
.52 (470)
1115
0.52
Weekend Total ($500,000+ Films)
$89.50
% Change (Last Year)
-10%
% Change (Last Week)
-4%
Also debuting/expanding
The Ten Commandments
Rocky Mtn
.44 (5,300)
830
0.44
Reservation Road
Focus
38,700 (2,980)
13
0.04
Wristcutters
Lions Gate
34,600 (11,530)
3
0.03

Canada Box Office – To October 5-11, 2007

Title
Distributor
Gross
Cume
The Heartbreak Kid
Par
1,881,697 1,881,697
The Game Plan
BV
1,576,831 3,194,183
The Kingdom
Uni
1,547,444 3,655,526
Resident Evil: Extinction
Sony
751,073 4,678,958
Good Luck Chuck
Maple Pictures
607,171 3,065,803
Eastern Promises
Odeon
542,404 2,574,641
The Seeker: The Dark is Risin
Fox
537,628 537,628
Across the Universe
Sony
443,121 1,206,710
Sydney White
Uni
392,959 1,832,350
The Brave One
WB
347,885 3,124,954
3:10 to Yuma
Maple Pictures
340,567 3,916,969
Shakes Hands with the Devil
Seville
316,117 640,247
Superbad
Sony
303,882 15,105,832
Mr. Woodcock
Alliance
297,749 2,894,450
The Bourne Ultimatum
Uni
227,390 24,128,598
Transformers
Par
217,437 26,687,887
Silk
Odeon
173,162 754,677
The Jane Austen Book Club
Mongrel
153,605 169,531
In the Valley of Elah
WB
142,664 432,439
Into the Wild
Par Vantage
134,821 160,481
Feel the Noise
Sony
123,603 123,603
Les 3 p’tits cochons
Christal
121,794 4,293,526
Michael Clayton
WB
113,739 113,739
Hors de prix
Christal
111,375 111,375
Odette Toulemonde
Equinoxe
109,465 244,273

Domestic Market Share – October 11, 2007

Distributor (releases)
Gross
Percentage
Paramount (17)
1242.5
16.40%
Sony (24)
1084.7
14.40%
Warner Bros. (27)
1042.2
13.80%
Buena Vista (16)
999.2
13.20%
Universal (17)
896.9
11.90%
Fox (18)
744.1
9.90%
New Line (10)
402.3
5.30%
MGM (20)
289.1
3.80%
Lions Gate (17)
241.9
3.20%
Focus (7)
103.2
1.40%
Fox Searchlight (12)
92.1
1.20%
Miramax (7)
63.2
0.80%
Picturehouse (7)
56.9
0.80%
Other * (241)
298.7
3.90%
7557
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