MCN Columnists
Leonard Klady

By Leonard Klady

The Weekend Report: December 6, 2009

Weekend Estimates: December 4-6, 2009

Title Distributor Gross (avg) % change Theaters Cume
The Blind Side WB 20.3 (6,110) -49% 3326 129.2
Twilight: New Moon Summit 15.5 (3,760) -64% 4124 254.4
Brothers Lionsgate 9.7 (4,660) New 2088 9.7
A Christmas Carol BV 7.6 (2,970) -52% 2546 115.1
2012 Sony 6.8 (2,110) -61% 3220 149
Old Dogs BV 6.8 (2,000) -60% 3425 33.9
Armored Sony 6.6 (3,460) New 1915 6.6
Ninja Assassin WB 5.0 (2,000) -62% 2503 29.8
Planet 51 Sony 4.3 (1,480) -58% 2904 34
Everybody’s Fine Miramax 3.9 (2,050) New 1888 3.9
Fantastic Mr. Fox Fox 2.8 (1,390) -59% 2034 14
Precious Lionsgate 2.2 (3,360) -69% 664 36.2
Up in the Air Par 1.15 (76,800) New 15 1.15
The Boondock Saints II Apparition .89 (2,060) -32% 432 7
The Road Weinstein Co. .76 (5,940) -49% 128 3.2
The Princess and the Frog BV .75 (37,400) -5% 2 2.4
An Education Sony Classics .48 (1,880) -47% 256 6.3
The Men Who Stare at Goats Overture .41 (810) -73% 509 31.3
Pirate Radio Focus .33 (1,160) -67% 285 7.4
Couples Retreat Uni .31 (720) -68% 432 107.2
eekend Total ($500,000+ Films) $95.00
% Change (Last Year) 21%
% Change (Last Week) -48%
Also debuting/expanding
Transylmania Full Circle .27 (270) New 1007 0.27
Turandot Live Fathom .22 (3,040) New 73 0.22
PAA Big Pictures .16 (2,320) New 67 0.16
Bad Lieutenant: Port of Call New Orleans First Look .15 (2,130) -48% 71 0.94
Broken Embraces Sony Classics 87,500 (43,750) -26% 2 0.45
Pour toujours les Canadien TVA 78,600 (1,790) New 44 0.08
The Messenger Oscilloscope 71,300 (1,460) -49% 49 0.46
Me and Orson Welles FreeStyle 39,200 (7,840) -38% 5 0.15
Serious Moonlight Magnolia 11,400 (1,430) New 8 0.01
Until the Light Takes Us Variance 8,500 (8,500) New 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