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David Poland

By David Poland poland@moviecitynews.com

Press Release – Reader Crosses $100m Worldwide

When the heat leave the Oscars and the domestic box office, things fall away. If you look at Box Office Mojo, you will see this film at $89 million worldwide. But The Weinstein Co is a little more interested in keeping track of those numbers… yet another cautionary tale about assuming that what you read, even on otherwise legit information sites, can come up short in some areas. In this case, it’s BOM not cribbing foreign box office info from a variety of other sources, as it has no facility to gather foreign box office itself.
Oh yeah… and congrats to The Reader, the third $100 million worldwide grosser in TWC’s history.
The release…
“THE READER” CROSSES $100 MILLION MARK WORLDWIDE
NEW YORK, NY–July 29, 2009 — The Weinstein Company (TWC) is pleased to announce that THE READER, starring Academy Award-winner Kate Winslet and Ralph Fiennes has crossed over $100 million in worldwide box office receipts since its initial domestic release on December 10, 2008.
The film has been an international success for TWC and its foreign distribution partners, having been released in 46 countries and 32 languages to date. Most notably, in Germany, THE READER is the sixth highest grossing film of 2009, earning approximately $19 million to date since its release on February 26 through Senator. Other significant releases include the UK which earned approximately $8.5M since its release on January 2, 2009 through Entertainment Film; France, where it was released through SND on July 15, 2009 and earned approximately $3 million to date; Australia/New Zealand where the film has earned approximately $3.6M since its release on February 19, 2009 through Village Roadshow; and Spain which earned approximately $6.6M since its release on February 13, 2009 through On Pictures.
“The success of this film is really fulfilling as we made a movie that captivated a worldwide audience and it

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2 Responses to “Press Release – Reader Crosses $100m Worldwide”

  1. IOIOIOI says:

    The movie that single-handedly made the Academy say to itself; “Shit, we may need to add 5 movies to get these old geezers to avoid voting for films like this, and nominate flicks like The Dark Knight.”
    Congratulations Reader! Your earned that 100m!

  2. I’d say The Reader earned it’s $100m more than Frost/Nixon earned it’s, er, $27m worldwide take.

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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