MCN Columnists
Leonard Klady

By Leonard Klady

The Weekend Report: August 9, 2009

Weekend Estimates: August 7-9, 2009

Title Distributor Gross (averag % change Theater Cume
G.I. Joe: Rise of Cobra Par 56.6 (14,120) 4007 56.6
Julie & Julia Sony 19.6 (8,320) 2354 19.6
G-Force BV 9.7 (2,790) -45% 3482 86
Harry Potter and the Half-Blood Prince WB 8.9 (2,570) -51% 3455 273.8
Funny People Uni 7.8 (2,600) -65% 3008 40.4
The Ugly Truth Sony 6.6 (2,220) 2975 2975 68.7
A Perfect Getaway Uni 5.7 (2,620) 2159 5.7
Aliens in the Attic Fox 3.9 (1,260) -51% 3108 16.2
(500) Days of Summer Fox Searchlight 3.7 (4,490) 32% 817 12.3
The Orphan WB 3.7 (1,610) -51% 2270 34.8
The Hangover WB 3.4 (1,990) -35% 1690 262
Transformers: Revenge of the Fallen Par 3.0 (1,550) -36% 1948 393.7
The Proposal BV 2.8 (1,490) -44% 1870 151.6
Ice Age: Dawn of the Dinosaurs Fox 2.5 (1,440) -55% 1727 187.7
The Hurt Locker Summit 1.2 (2,320) -35% 535 9
The Collector FreeStyle 1.2 (960) -66% 1270 6.3
Public Enemies Uni 1.0 (1,060) -62% 906 95.5
Up BV .061 (1,410) -48% 431 287.4
Night at the Museum 2 Fox .44 (1,340) -21% 329 174.8
Du Pere en flic Alliance .42 (4,560 -28% 92 7
Weekend Total ($500,000+ Films) $141.90
% Change (Last Year) 23%
% Change (Last Week) 15%
Also debuting/expanding
Paper Heart Overture .20 (5,330) 38 0.2
In the Loop IFC .18 (3,680) -37% 50 0.87
The Cove Roadside Attract. .16 (2,724) 174% 58 0.24
Adam Searchlight .10 (5,060) 49% 20 0.24
Cold Souls IDP 81,300 (11,610) 7 0.08
Thirst Focus 52,600 (6,580) -6% 8 0.14
Bliss First Run 6,150 (6,150) 1 0.01
Beeswax Cinema Guild 5,750 (5,750) 1 0.01
I Sell the Dead IFC 4,100 (4,100) 1 0.01
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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