MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

The Weekend Report: February 14, 2010

February 14, 2010
Weekend Estimates
Domestic Market Share


Weekend Estimates: February 12-14, 2010

Title Distributor Gross (average) % change * Theaters Cume
Valentine’s Day WB 51.8 (14,140) New 3665 51.8
Percy Jackson & the Olympians Fox 31.4 (9,370) New 3356 31.4
The Wolfman Uni 30.5 (9,460) New 3222 34.7
Avatar Fox 22.2 (8,260) -3% 2685 637.61
Dear John Sony 15.2 (5,110) -50% 2975 53.1
The Tooth Fairy Fox 5.7 (2,080) -14% 2748 41.7
From Paris with Love Lions Gate 4.8 (1,770) -41% 2722 15.9
Edge of Darkness WB 4.6 (1,760) -33% 2615 36.1
Crazy Heart Fox Searchlight 3.9 (3,910) 10% 1005 16.5
Book of Eli WB 3.3 (1,820) -30% 1825 87.3
When in Rome BV 3.3 (1,540) -41% 2125 25.9
The Blind Side WB 2.2 (1,860) -8% 1175 244.7
My Name is Khan Fox 1.8 (15,170) New 120 1.8
Alvin & the Chipmunks: The Squeakquel Fox 1.2 (1,150) -43% 1057 213.8
Up in the Air Par 1.7 (1,860) -25% 925 79.2
Legion Sony 1.5 (1,070) -56% 1424 37.6
Sherlock Holmes WB 1.5 (1,600) -37% 950 204
It’s Complicated Uni 1.2 (1,510) -43% 787 109.5
The Lovely Bones Par .64 (770) -72% 833 42.8
The Princess and the Frog BV .56 (1,270) 26% 441 101.7
The Last Station Sony Classics .47 (5,710) 41% 83 1.3
A Single Man Weinstein Co. .46 (1,470) -26% 313 6.9
Weekend Total ($500,000+ Films) $108.87
% Change (Last Year) 4%
% Change (Last Week) 71%
Also debuting/expanding
An Education Sony Classics .42 (1,230) -45% 343 10.4
The Hurt Locker Summit .17 (1,340) 34% 125 13.5
The White Ribbon Sony Classics .14 (3,090) 10% 45 0.98
Ajami Kino 33,400 (11,130) -7% 3 0.09
October Country Intl Film Circ 6,400 (6,400) New 1 0.01
Order of Chaos Cinema Epoch 4,100 (4,100) New 1 0.01

Domestic Market Share: February 11, 2010

Distributor (releases) Gross Market Share
Fox (4) 483.4 38.40%
Warner Bros. (9) 274.2 21.80%
Universal (4) 94.6 7.50%
Sony (9) 87.6 7.00%
Paramount (3) 85.7 6.80%
Lionsgate (5) 70.5 5.60%
Buena Vista (4) 50.5 4.00%
Weinstein Co. (4) 31.5 2.50%
Sony Classics (6) 12.2 1.00%
CBS Films (1) 12.1 1.00%
Fox Searchlight (1) 12 1.00%
Summit (3) 10.5 0.80%
Apparition (2) 7.4 0.60%
Other * (51) 25.9 2.00%
1258.1 100.00%
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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