The Weekend Report Archive for November, 2009

Gobbling to (Ex)Success

It was the biggest Thanksgiving box office ever with last weekend’s leaders continuing to lead the way. Twilight: New Moon added an estimated $43.1 million to its burgeoning larder and The Blind Side was close behind with a $40.2 million tally for the three-day portion of the holiday carving. The five-day frame generated revenues of…

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Green Moon, Emerald Moon

Wow! Twilight: New Moon set a clutch of records as it rocked weekend movie going with an estimated $141.6 million debut. It was the biggest fourth quarter debut of ALL-TIME. In what ranks as the second biggest grossing weekend box office EVER, there was also a potent second place bow for the inspirational race drama…

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Not with a Whimper … but a Bang!

Critics were derisive of 2012 but the new age apocalyptic disaster saga was warmly embraced by the public to an estimated debut of $63.7 million. The competition largely steered clear of the cinematic tsunami though the oft-delayed rock valentine Pirate Radio went limited wide to OK returns of $2.9 million. The frame also saw a…

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Hmmmm Bug

A Christmas Carol gave cheer as the weekend box office leader with an estimated $30.7 million. However, it was the cumbersomely titled Precious: Based on the novel “Push” by Sapphire that had industry heads spinning. The well-received, unblinking urban drama grossed $1.88 million from a mere 18 screens for a jaw-dropping theater average of $104,810….

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Dis and Dat

Michael Jackson’s This Is It led weekend ticket sales with an estimated $21.1 million. It was the only wide release for the frame and as it fell short of out-sized predictions, business experienced a sharp downturn from seven days earlier. The limited release of The Boondock Saints II proved unexpectedly strong while neither of the…

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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