MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Sometimes A Banana Peel Is Just A Banana Peel

Variety’s Pamela McClintock is a smart reporter… but I am always gobsmacked when I read news – in this case, some release date shuffling 8 months out – that makes perfect sense… until a reporter tries to turn it into a trend piece even though it doesn’t fit.
This week, everyone is still revved up on the box office success of a few first-quarter titles… so Fox dating two movies in Q1 ’10 is suddenly about Paul Blart. Uh, no.
The first film, The Rock as The Tooth Fairy, was separated by one week from a stop-animation film, also from Fox, going into Thanksgiving. One of them had to move. Dwayne has had three kid-oriented films successfully open on what used to be considered off dates; Race To Witch Mountain in March and The Game Plan and Gridiron Gang in September. Between moving the Wes Anderson stop-motion into the wilderness of Q1 – where a 3D Beauty and the Beast will be strong in February and Tim Burton’s Alice in Wonderland should be a big winner in March – and moving The Rock into January, where it will be the only family movie opening, get the advantage of MLK weekend, and be clear of Chipmunks 2 by almost a month… no contest.
Does it hurt that Paul Blart did almost $150 million on that date? No. Was there a much better or more obvious date out there before this move? No.
As for Date Night.. well, first I love that Variety is going all the credit for March openings to 300… since Date Night is so like 300. But seriously, the truth is that it was Fox that re-opened March for business with Ice Age in 2002 after Enemies at The Gate and The Mexican kind of shut down that slot as an Oscar/drama window in 2001, the year after Erin Brockovich both did big bucks and got nominations out of what had become “the serious spring slot.” And a tip of the hat to the 2001 success of Spy Kids, though it was a March 30 opening.
But getting back to Date Night specifically… which is actually opening in April, making 300 and Ice Age irrelevant… Mean Girls was the top grossing April launch in 2004 (albeit April 30)… Sin City, Scary Movie 4, and Disturbia kept the month strong for teens in 2005-07, and in 2008, we got both Baby Mama and Forgetting Sarah Marshall building a landmark for this very specific Fey-ian, Segel-ian, Apatow-ian kind of film that Date Night is. This year’s March 20 release, I Love You Man, is right there too, making a similar number to its predecessors. And March was out of the question for Date Night, given that Sony has a Sandler/James/Chris Rock film slotted in there now… right in between the Feb slot that Sandler has done so well in (Wedding Singer/50 First Dates) and the April slot of Anger Management.
Ah, slotting!

Be Sociable, Share!

4 Responses to “Sometimes A Banana Peel Is Just A Banana Peel”

  1. Direwolf says:

    I’ve been thinking recently that part of the 1Q box office strength that has extended through April is due to the fact that Hollywood has decided that while there are obvious good weekends, there is little fear to try open something on almost any weekend. If the slot is open and makes sense in terms of clearance on either side then put together a marketing plan and go for it. Over the past couple of years it seems that pretty much every weekend has had a decent opening with just a few exceptions. That does not mean every weekend will be good with a strong opener(s) but it does mean that fearing a weekend is kind of silly. Sure it helps if you have a weekend that matches up well with your demo but I know lots of folks who go to movies pretty regularly and they go when they hear something is worth seeing. They don’t think “I heard I Love You, Man is good but I can’t go see it because I don’t go to movies on the third weekend in March.” In other words, studio heads and marketing departments are just doing a better job and being more careful in trying to avoid one another.

  2. Geoff says:

    It is really a trend when it kicked in….oh….19 years ago????
    Back in 1990, three movies grossed well over $100 million in the spring: The Hunt for Red October, Pretty Woman, and Teenage Mutant Ninja Turtles. Then the next year, Sleeping with the Enemy and Silence of the Lambs did big business in February. Then the next year: Wayne’s World and The Hand that Rocks the Cradle. Then the next year, Indecent Proposal opened big in April. Is this really a new phenomenon?
    I think what changed this year is that holiday releases that exploded around Christmas were pretty much nudged off of screens just a few weeks later…..that was the first time that happened. What has happened is that the legs have been chopped off of holiday films, making it easier for films like Taken and Paul Blart to do bigger business.

  3. Wrecktum says:

    Boy, ain’t that the truth. Bedtime Stories (for instance) was DOA after Christmas, and you know Disney assumed the film would play at least three weeks into January.
    We’ll see if it’s a one year only phenom, or if it’s the new reality. If so, it’ll change a lot of distribution strategies in the future.

  4. Rob says:

    You’re right about the lack of legs shown by the Xmas hits. Marley & Me made $143 million, but was only in the top ten for four weekends!

The Hot Blog

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