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David Poland

By David Poland

Friday Estimates by The Kladyizer

Friday Estimates 2014-09-27 at 9.56.24 AM

So little interesting to say this Saturday.

The Equalizer opening is one of Denzel’s best openings, probably his 2nd best ever as the solo lead, unless you count Ryan Reynolds against the Safe House opening. If you do, this could be Denzel’s #1 solo opening ever.

The Boxtrolls, which I quite enjoyed – especially Sir Ben Kingsley’s great, nearly unrecognizable vocal performance and 2nd persona as Madame Fifi – is going to be another somewhat soft animation opening for Laika and Focus. Of course, no stop-motion film has ever had a $20 million weekend in the domestic market, so what looks modest from the outside may be as expected by the distributor and filmmakers.

The Skeleton Twins is the big indie of the weekend, looking at a weekend just over a million bucks. The other indie with a shot at opening with more than 10k per-screen is IFC’s Days & Nights.

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2 Responses to “Friday Estimates by The Kladyizer”

  1. Bitplayer says:

    Reynolds probably hurt the Safe House opening. The guy is BO poison. I know I went entirely to see Denzel walk cooly across a hallway, no bullshit. They did a good job selling Equalizer. It’s clear what’s it’s about, to the extent there is a plot. Denzel kicking ass to protect a young white woman he won’t get to have sex with? It’s always BO gold Jerry. I want to see it.

  2. movieman says:

    “The Equalizer” is solid: it’s easily Fuqua’s strongest movie since “Training Day.” I’m expecting sturdy legs–unless “Gone Girl” and “The Judge” cannibalize its primary middle-age demo.

    On the other hand, I can’t imagine “Boxtrolls” endearing itself to, well, pretty much anyone except maybe Comic Book Guy from “The Simpsons” and the most ardent Anglophiles.
    The accents are well-nigh impenetrable at times, and the look is oppressively dark/murky and gloomy.
    I rather liked Laika’s previous films (“Coraline” more than “Para-Norman”), but “Boxtrolls” was a total snooze-fest for me.
    I can only imagine what the average 6-year-old (American) kid will make of it. And what kind of w.o.m. (if any) they’ll be spreading on playgrounds.

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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.”
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“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