Box Office Archive for February, 2008

Weekend Estimates by Klady – Oscar Sunday '08

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The only thing I can offer of any interest to these numbers this week is that it now looks like we will have the second February in five years – the exception being 2006 – without a single $100 million domestic grosser. And I forget each year that January has successful films… but all grossing under $100 million, a detail that remained true to form this year.
What really distinguishes this year’s lack of 9-figure gold is how many films aspiring to that goal the studios threw at the first two months of the year. Cloverfield and 27 Dresses in January and Jumper and The Spiderwick Chronicles in February all revved the engines and then came up short… with four very different marketing strategies. Geek Love, Women, 4-Quadrant (leaning young), and Kids all failed to deliver the home run, the last two films being by far the most expensive risks. In the past, one or two such films were launched and once, three… never four.
The “year-is-down”/”theatrical is dead” stories should start soon. And it is unlikely the gross numbers will catch up much over the course of the year. The biggest year ever will not be duplicated. And the sky is not falling. This is not a business of selling toilet paper or razor blades. It’s about the movies and the marketing opportunities that those films allow. And you’re just not going to have three $300 million movies in May, a fourth in July, and three more $200 million-plus films in most summers. It’s never happened before… and it won’t happen again for a while.
Holiday 2008 could be up, with a Bond, a Madagascar sequel, a Harry Potter, The Day The Earth Stood Still, and a Jim Carrey comedy that may harken back to his good ol’ days. But the year could easily be down by double digits by November 1. We’ll see.
But for now, March…
Next week, New Line is hoping that a leap year Feb 29 date will be like last year’s March date for Will Ferrell, who scored $119 million with Blades of Glory. Warners’ 300 wannabe, 10,000 BC, opens dead on the $211 million hit’s date. Horton Hears A Who is in the very successful Ice Age and Ice Age 2 slot. And God knows what Par is chasing with Drillbit Taylor, which seems like a summer movie being dumped in spring. And Sony’s 21 hopes to be the second launch of Jim Sturgis, who built a base with teen girls in Across The Universe and looks to win over the boys here, supported by Kevin Spacey, Laurence Fishburne, and the threat of a tryst with Kate Bosworth.
FINALLY… The Oscar bump stories… mythology.
The last time we saw a bump like this – and it was significantly bigger – was 2004. Why? Because it happened to be the last year where the nominees and the release strategies matched like this. Juno had a minor bump after nominations, but the near $45 million “bump” for the film was really the pretty much expectable continuation of a very strong commercial run.
There Will Be Blood

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Friday Estimates by Klady

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Wow… look at that line-up!!!!

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Klady's 4 Day Estimates

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Weekend Estimates by Klady – Feb 10

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Not all that interesting this week. How To Lose A Guy In 10 Days opened to $23.7 million five years and this opening is almost the same. Women still want to see if two bottle blondies can make it work.
First Sunday opened to $17.7 million… so Welcome Home Roscoe Jenkins is in line with that too. People still want to see wacky black families.
Hanna Mon Milley dropped… duh… and boo-hoo, Disney will have to live with just $54 million from a $5 million concert movie that they never really meant for theatrical anyway, now the next giant Home Ent release, as it likely beats the December trio to the DVD store.
Juno chugs along, easily the biggest Fox Searchlight film ever… but still likely to come up short of Knocked Up, though a little ahead of Superbad.
There Will Be Blood will pass $30 million, heading to the mid-30s… a milkshake drinking success for Paramount Vantage, even if the film cost about the same as money-losing Babel, The one advantage, financially, being that this film had two months less advertising money to burn while waiting around not to win the Oscar.
No Country For Old Men and Atonement both keep chugging along with excessively-discussed-by-journos $2m-n-Change weekends. Michael Clayton fell off a little this week to $1.6 million as the DVD release started getting touted heavily. Atonement will end up about $10 million past Pride & Prejudice for its nomination reward… which is probably less than it cost them in ads after being nom’ed… though the Oscar profit tends to be foreign & DVD.
And my personal fave… sometime in the next week, The Bucket List will pass Cloverfield as the old guys with bad reviews push past the young guys with overly generous reviews and we are all reminded yet again that old people and women and every bit as powerful as niche plays as geek boys… they just aren’t as easy to suck in on one weekend.

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Friday Estimates by Klady – 1/8

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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