By MCN Editor editor@moviecitynews.com

MIDNIGHT IN PARIS MARKS WOODY ALLEN’S HIGHEST GROSSING FILM IN NORTH AMERICA IN 25 YEARS

NEW YORK, NY (June 23, 2011) – Sony Pictures Classics announced today that MIDNIGHT IN PARIS has become Woody Allen’s highest grossing film in North America in 25 years. MIDNIGHT IN PARIS has grossed $23,330,859 to date.

Sony Pictures Classics’ upcoming releases include BEATS, RHYMES & LIFE: THE TRAVELS OF A TRIBE CALLED QUEST; LIFE, ABOVE ALL; THE GUARD; HIGHER GROUND; RESTLESS; TAKE SHELTER; THE SKIN I LIVE IN; CARNAGE; and A DANGEROUS METHOD.

ABOUT SONY PICTURES CLASSICS
Michael Barker and Tom Bernard serve as co-presidents of Sony Pictures Classics—an autonomous division of Sony Pictures Entertainment they founded with Marcie Bloom in January 1992, which distributes, produces, and acquires independent films from around the world.

Barker and Bernard have released prestigious films that have won 27 Academy Awards® (23 of those at Sony Pictures Classics) and have garnered 114 Academy Award® nominations (93 at Sony Pictures Classics) including Best Picture nominations for AN EDUCATION, CAPOTE, HOWARDS END, AND CROUCHING TIGER, HIDDEN DRAGON.


ABOUT SONY PICTURES ENTERTAINMENT

Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America (SCA), a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; digital content creation and distribution; worldwide channel investments; home entertainment acquisition and distribution; operation of studio facilities; development of new entertainment products, services, and technologies; and distribution of filmed entertainment in more than 100 countries. Sony Pictures Entertainment can be found at http://www.sonypictures.com.

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2 Responses to “MIDNIGHT IN PARIS MARKS WOODY ALLEN’S HIGHEST GROSSING FILM IN NORTH AMERICA IN 25 YEARS”

  1. RoyBatty says:

    Just 2 quick reality checks:

    HANNAH’S 1986 gross would be $75M adjusted.

    The estimated 2.9 million people who have seen it so far is less than half of the number of people who watched last week’s highest rated cable show, “Pawn Stars” (est. 7.4 million)

  2. samguy says:

    When TV was still relatively new in the 50’s and 60’s, stars would host specials on foreign cities such as Sohpia Loren on Rome. It seems that Woody’s now doing movies that are the cinematic equivalent.

Quote Unquotesee all »

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