MCN Columnists
Leonard Klady

By Leonard Klady Klady@moviecitynews.com

The Weekend Report: July 5, 2010

Weekend Estimates: July 2-5, 2010

Title Distributor Gross (average) % change * Theaters Cume
Twilight: Eclipse Summit 84.3 (18,870) New 4468 177.1
The Last Airbender Par 53.4 (16,860) New 3169 69.8
Toy Story 3 BV 42.3 (10,510) -49% 4028 301.2
Grown Ups Sony 26.6 (7,520) -53% 3534 85.2
Knight and Day Fox 14.1 (4,540) -49% 3104 49.4
The Karate Kid Sony 11.3 (3,650) -48% 3109 154.8
The A-Team Fox 4.2 (1,980) -50% 2135 70.3
Get Him to the Greek Uni 1.7 (1,880) -61% 884 57.9
Shrek Forever After Par 1.3 (1,330) -72% 957 232.6
Cyrus Searchlight 1.0 (13,380) 156% 77 1.7
Prince of Persia: The Sands of Time BV .91 (1,520) -77% 600 88.4
Iron Man II Par .88 (1,590) -57% 522 308.5
Letters to Juliet Summit .83 (2,440) 69% 340 50.9
Killers Lions Gate .71 (980) -73% 727 45.4
I Am Love Magnolia .68 (8,830) 106% 77 1.2
Solitary Man Anchor Bay .67 (3,810) 0% 176 2.9
Winter’s Bone Roadside .55 (6,630) -2% 83 1.8
Sex and the City 2 WB .54 (1,520) -64% 355 94.1
Marmaduke Fox .51 (1,070) -62% 475 31
I Hate Luv Stories UTV .50 (5,980) New 84 0.5
Weekend Total ($500,000+ Films) $246.90
% Change (Last Year) 17%
% Change (Last Week) 16%
Also debuting/expanding
Restrepo Nat.Geo 73,200 (7,320) 65% 2 0.13
Love Ranch E1 55,600 (5,050) New 11 0.06
South of the Border Cinema Libre 42,600 (7,100) 98% 6 0.07
Great Directors Paladin 3,800 (1,900) New 2 0.01

Domestic Market Share: January 1 – July 1, 2010

Distributor (releases) Gross Market Share
Fox (11) 1030.3 18.90%
Paramount (9) 1025.4 18.80%
Warner Bros. (17) 852.5 15.60%
Buena Vista (10) 827.7 15.20%
Sony (15) 446.6 8.20%
Universal (10) 379.3 7.00%
Lionsgate (8) 241 4.40%
Summit (9) 214.1 3.90%
Overture (4) 67.4 1.20%
Fox Searchlight (4) 63.9 1.20%
MGM (1) 50.4 0.90%
CBS (2) 49.8 0.90%
Sony Classics (12) 37.7 0.70%
Weinstein Co. (4) 34.7 0.60%
Other * (174) 131.2 2.40%
* none greater than 0.4% 5452 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