The Hot Blog Archive for October, 2005

Kris Tapley: Columnist

This week’s column…
“Is it just me, or might 2005 pan out to be a showcase season for the next generation of filmmaking talent?”
Is it just him?

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Doing Pieces Right

Page Six offers:
“October 25, 2005 — THE movie adaptation of James Frey’s harrowing rehab memoir, “A Million Little Pieces,” is not going well. We’re told director Laurence Dunmore left the project in frustration a few months ago…”
Ironically, as I watched Dunsmore’s not-very-good The Libertine with Johnny Depp giving a fine performance that gets lost in the murk, I was thinking quite specifically that working in a similar vein, Depp would win an Oscar playing the lead in A Million Tiny Pieces, in great part because the role is so raw and well lit, both literally and figuratively. And I was also thinking that there is no one better for the role right now than Depp, since his looks are noteable, but not distracting, as Pitt’s are. He can be a real person on screen.
With the right director, Rachel McAdams, mentioned as a candidate for the role of the girl he meets in the rehab, might well have the award-winning breakout of her career, on top of her girl-next-store home run skills. With the wrong director, a very sensitive and gifted young actress might be destroyed. And that isn’t hyperbole. This is a very dark ride and McAdams goes deep in her work. Very tough stuff and a director who fucks with her head in a role like this could really fuck with her head.
Soderbergh or Francois’ Ozon or maybe Tim Roth would really be “the right director.” Van Sant could do a brilliant job, but would have to be willing to work within some amount of convention.

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The Mouth

It

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Unexpected 9/11 Moment

I’m working this afternoon and Contact is on my TV. The 1997 film was years before 9/11.
In the sequence in which a radical religious terrorist blows up the travelling pod on the spacecraft they built… it wasn’t the explosion itself, but how that small explosion in one compartment led to a chain reaction destroying the whole device… very much like the World Trade Center, billowing smoke and all.
I must admit, I heard myself gasp out loud.

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Sunday Estimate Analysis

Not much more to say.
Stay did $2.1 million… less than Good Night, And Good Luck, which was on fewer than 1/8th the number of screens. But when a studio bails on a film, audiences really know to run then, no?
The Fog held better than expected… but that probably has a lot to do with no other film filling that horror void… Doom being perceived as something else. Saw II was probably staying clear of Doom‘s opening, but they may well have won here had they launched. Sony should send Lions Gate 55% of a $2 million check for not opening.
There were only four $10,000-plus per-screens in movieland this weekend, two of which are star vehicles just setting up wide releases – Good Night, And Good Luck ($10,310 per on 225 screens), Capote ($11,090 per on 55 screens), Shopgirl ($28,800 per on 8 screens)and Kiss Kiss Bang Bang ($21,650 per on 8 screens). A slight dissapointment is The Squid & The Whale, which mustered up $6380 per on 40 screens.
3-Day Estimates Weekend % Change Cume
Doom 15.5m – 15.5m
Dreamer 9.3m – 9.3m
Wallace & Gromit 8.8m -24% 44.1m
The Fog 7.2m -39% 21.5m
North Country 6.2m – 6.2m
Elizabethtown 5.9m -44% 19.2m
Flightplan 4.8m -27% 77.3m
In Her Shoes 4.0m -34% 26.3m
A History of Violence 2.8m -22% 26.5m
Two for the Money 2.4m -49% 20.7m
Domino 2.3m -50% 8.6m

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With due respect to many great posts…

… my favorite blog exchange in a while has got to be…
To Hollywood outsiders: The Grove is considered Naboo, The Arclight is Coruscant and Burbank 16 is Tatooine.
The acoustics in Mann’s Chinese (the big theater) are just awful, like watching a movie in a high school gym. That would make it The Death Star.
Posted by: Crow T Robot at October 22, 2005 06:03 AM

Followed by…

What’s the Mustafar of LA theaters?
I thought no one liked the prequels. Shouldn’t we be comparing LA theaters to original trilogy planets?
Posted by: Blackcloud at October 22, 2005 03:25 PM

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Early Friday Analysis

Doom is looking like it will land somewhere between $16.5 million and $19 million. Either number is lower than the film was tracking and it is way off of what some people thought the tracking meant, because of weaknesses in reaching young moviegoers via surveys. With a start in the range of Universal

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Why Old Media Fails At Blogging

The latest example is Richard Rushfield, a good veteran reporter, “blogging” on the Hollywood Film Festival.
What’s wrong with it?
1. A mention of “a reporter” hosting a Q&A doesn’t mention that the reporter was Stephen Gaydos of Variety… competition. (Never mind that I was across the hall hosting a North Country Q&A).
2. Both Q&As were slightly disrupted by problems with the microphones

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B.O. Query

How much can Doom gross?

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The Apprentice: Geoff Ammer

Finally

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19 Weeks To Go

Discuss The Oscar charts here

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Free for All

What do you have to say?

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If You've Been Wondering…

… what happened to James Rocchi of NetFlix, he’s set up his own blog here, which not-so-coincidentally has something nice to say about me (which is why he sent me the link).
But James is a member of the community… or as is so often the case these days, another white male film critic looking for a gig… so give him a look and maybe you’ll want to keep up with what he has to say.

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MCN Is Having Technical Difficulties

UPDATE: Back In Business at 2p…
We’re working on trying to get things working again so we can update…

1 Comment »

The Hot Blog

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