Box Office Archive for December, 2006

Klady's Friday Estimates

This is one of those weird Fridays where analysis is somewhat defied. What we are really doing is analyzing the season, since the day-to-day is so different than any other time. It


Weekend Box Office

Klady will be here shortly, but here are a few sneak peeks at the small openers…
1. As previously reported, Dreamgirls was massive on 852 screens on Monday, with $8.7 million, about $100,000 of which came from added midnight shows around he country. It is the #3 Christmas Day opening ever, the #10 Christmas Day gross overall, and the single best day for any musical ever (Moulin Rouge had the previous best day ever with $5.68m on 2279 screens – Chicago


What Is A Good Number For Dreamgirls?

Every once in a while, it seems like time to make an offering of what would be a number that is “good” or “great” or disappointing for a highly anticipated opening. Dreamgirls


The Box Office To Come

For any movies now open, studios can, within about 15%, figure out with about 95% certainty what the rest of 2006 is going to look like for them. Black Christmas and Dreamgirls are really the only box office stories left to present themselves.
As it went last year, the Friday before X-Mas pretty much lays out a number that a film will perform close to on every day except the two down days of X-Mas Eve and X-Mas, and the unusually up day of the day after X-Mas. 2004 was unusual because that Friday was X-Mas Eve, but the Day before that, the Thursday, pretty much offered the same rule.
The extra day is a big advantage for films this year over last, since the day after the New Year


Box Office Hell 12/22 (4 days)

Box Office Mojo Friday Numbers
1 | Night At The Museum | $12,250,000 | 3,685 | $12,250,000 / 1
2 | The Pursuit Of Happyness | $5,300,000 | 2,863 | $43,587,000 / 8
3 | Rocky Balboa | $5,000,000 | 3,017 | $14,693,000 / 3
4 | The Good Shepherd | $3,500,000 | 2,215 | $3,500,000 / 1
5 | Charlotte’s Web (2006) | $3,150,000 | 3,728 | $21,959,000 / 8
6 | Eragon | $2,750,000 | 3,030 | $33,246,000 / 8
7 | We Are Marshall | $2,700,000 | 2,606 | $2,700,000 / 1
8 | The Holiday | $1,825,000 | 2,635 | $31,918,000 / 15
9 | Happy Feet | $1,800,000 | 2,565 | $155,756,000 / 36
10 | The Nativity Story | $1,550,000 | 1,824 | $28,235,000 / 22


Sunday Estimates by Klady

The Theatrical Box Office Is Dead! Long Live The Dead Theatrical Box Office!!!
As Father Oyl said endlessly in Popeye, someone owes me – and more importantly, the industry – an apology.
I will explore this further in tomorrow


Klady's Friday Estimates



Box Office Hell 12/15



Klady's Sunday Estimates – 12/10

So Apocalypto will apparently be #1 this weekend.
I have to say, I am shocked by how many readers of this blog care about being #1, as opposed to the amount of money that #1 represents.
In any case, Apocalypto did overcome a potentially very, very ugly situation. But still, this opening has to be called


Friday Estimates by Klady – 12/09

My Oh Mayan.
Well, it


Box Office Hell – 13/08



Klady's Sunday Estimates – 12/3

Not a lot more to add.
The Nativity Story was not saved by a massive wave of Christians. But we’ll see if it picks up. I think the endless media obsession with marketing to Christians has perhaps become a serious problem for distributors who are looking to go after that audience with anything more than the smallest, most subtle campaigns.
Bond continues to run on par/a little behind Die Another Day, Casino Royale about $5 million behind on the third weekend total. Still, it is a great success for Sony, given that they were launching a new Bond. CR is already the biggest first film of a new Bond ever by more than $10 million. And the film has also been huge in the UK, where Daniel Craig was already a much bigger star. But no, Oscar talk remains nutty.
I expect the lame Turistas estimate to be a little high in the end. It is rare to see a Friday number for a film like that triple over 3


Klady's Friday Estimates

This weekend of the year


Box Office Hell – 12/1/06



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