MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

Will Power

December 16, 2007
Weekend Estimates
Limited Releases
Domestic Market Share

They’rrre baaack!

Film going rebounded with a vengeance as debuts of the sci-fi classic I Am Legend and the animated Alvin and the Chipmunks entered the marketplace with greater drawing power than expected. The chart toppers opened respectively with estimates of $78.1 million and $44.8 million; paving the way for business that more than doubled last weekend’s attendance.

The frame saw one other release, but the holiday comedy The Perfect Comedy was indifferently received with $2.2 million. Limited bows including Francis Coppola‘s Youth Without Youth were soft save for The Kite Runner that opened with a $14,490 theater average from 35 locations.

Expectations for I Am Legend were hefty with pundits anticipating a potent $50 million launch. Opening day grosses of $30.7 million ramped up prospects and estimates wound up breaking the all-time bow for a December release. It also contributed to setting a new high mark for a non-holiday session with overall box office of roughly $162 million.

Weekend revenues expanded by 105% from the doldrums of seven days earlier and were about 37% improved from 2006. A year ago Legend headliner Will Smith also topped the charts with Pursuit of Happyness debuting to $26.5 million. Openers Eragon and Charlotte’s Web followed with respective grosses of $23.2 million and $11.5 million.

If Legend was a surprise Alvin and the Chipmunks was a shocker. Prognostications generally saw it debuting to at best $25 million. Some are embracing the movie going surge as a dramatic reversal of fortune that bodes well for the two remaining weekends of 2007. However closer examination of weekend results clearly show the ravages on holdover titles with most taking precipitous falls and none quite as severe as The Golden Compass. That film – clearly envisioned as a trilogy – may just squeak by on international response that has been twice as potent as the domestic record.

There was also good news for platforms in a season that has not been kind to films charting strategic expansions. Both the black comic Juno and the epic period drama Atonement added markets and theaters and maintained healthy respective theater averages of $35,500 and $15,720. The first step for The Kite Runner, a bestseller about the resonances of recent Afghan history was also encouraging with a $507,000 tally.

Critical response was mixed for Francis Coppola’Youth Without Youth, a uniquely conceived romantic-thriller and its $27,800 box office at six venues was equally ambivalent.

– Leonard Klady

Weekend Estimates – December 14-16, 2007

tle
Distributor
Gross (averag
% change *
Theaters
Cume
I Am Legend
WB
77.1 (21,380)
3606
77.1
Alvin and the Chipmunks
Fox
44.8 (12,880)
3475
44.8
The Golden Compass
New Line
8.7 (2,470)
-66%
3528
40.7
Enchanted
BV
5.9 (1,920)
-45%
3066
92.2
No Country for Old Men
Miramax
2.8 (2,110)
-31%
1348
33.4
This Christmas
Sony
2.3 (1,180)
-54%
1921
46
Fred Claus
WB
2.2 (810)
-52%
2750
68.9
The Perfect Holiday
FreeStyle
2.2 (1,690)
1307
2.9
Atonement
Focus
1.8 (15,720)
131%
117
3
August Rush
WB
1.8 (880)
-50%
2007
28
Juno
Fox Searchlight
1.4 (35,500)
243%
40
2.1
Beowulf
Par
1.4 (820)
-70%
1659
79.3
Awake
MGM
1.2 (840)
-64%
1442
13.1
American Gangster
Uni
1.1 (890)
-58%
1217
127.6
Hitman
Fox
1.0 (610)
-70%
1687
38.1
Bee Movie
Par
.73 (450)
-72%
1609
122.3
Mr. Magorium’s Wonder Emporium
Fox
.59 (430)
-70%
1371
30.1
The Mist
MGM
.57 (420)
-78%
1362
24.9
The Kite Runner
Par Vantage
.51 (14,490)
35
0.51
Weekend Total ($500,000+ Films)
$158.10
% Change (Last Year)
37%
% Change (Last Week)
105%
Also debuting/expanding
I’m Not There
Weinstein Co.
.20 (1,340)
-43%
149
2.4
Margot at the Wedding
Par Vantage
.18 (1,460)
-25%
121
1.4
The Savages
Fox Searchlight
95,200 (9,520)
-33%
10
0.53
Youth Without Youth
Sony Classics
27,800 (4,630)
6
0.03
Look
Liberated
10,300 (5,150)
2
0.01
Nanking
Thinkfilm
6,200 (6,200)
1
0.01

Top Limited Releases – To December 13, 2007*

Title
Distributor
Gross
Waitress
Fox Searchlight
19,074,800
Notes on a Scandal
Fox Searchlight
16,889,774
Into the Wild
Par Vantage
16,326,562
The Nightmare Before Christma
BV
14,486,897
The Last King of Scotland
Fox Searchlight
13,987,084
The Namesake
Fox Searchlight
13,569,248
Deep Sea 3-D
WB
11,554,409
The Darjeeling Limited
Fox Searchlight
11,466,870
The Lives of Others
Sony Classics
11,286,112
La Vie en Rose
TVA/Picturehouse
10,021,232
Once
Fox Searchlight
9,434,509
Volver
Sony Class/Seville
8,667,708
Death at a Funeral
MGM
8,553,151
El Cantante
Picturehouse
7,556,712
The Painted Veil
WIP
7,552,537
Bella
Roadside Attract.
7,352,156
Away from Her
Mongrel/Lions Gate
5,747,729
Before the Devil Knows You’re
Thinkfilm
5,551,127
Rescue Dawn
MGM
5,484,401
Lars and the Real Girl
MGM
5,391,661
* none greater than 727 playdates

Domestic Market Share – December 13, 2007

Distributor (releases)
Gross (Millions)
Mkt Share
Paramount (20) 1466.6 16.50%
Sony (28) 1223.1 13.80%
Buena Vista (19) 1190.3 13.40%
Warner Bros. (29) 1181.5 13.30%
Universal (19) 1057.3 11.90%
Fox (21) 828.8 9.30%
New Line (14) 461.7 5.20%
Lions Gate (20) 369.1 4.20%
MGM (25) 347.6 3.90%
Miramax (13) 114.1 1.30%
Focus (9) 110.1 1.20%
Fox Searchlight (14) 103.9 1.20%
Picturehouse (7) 56.9 0.70%
Par Vantage (7) 53 0.60%
Other * (299) 310.7 3.50%
8766.2 100.00%
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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