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David Poland

By David Poland

Sunday Estimates by Klady

Weekend (estimates) October 6 – 8, 2006
Title | Distributor | Gross (average) | % change | Theaters | Cume

The Departed | WB | 26.5 (8,790) | new | 3017 | 26.5
Texas Chainsaw: The Beginning | New Line | 19.1 (6,780) | new | 2820 | 19.1
Open Season | Sony | 15.9 (4,140) | -33% | 3833 | 44
Employee of the Month | Lions Gate | 11.7 (4,550) | new | 2579 | 11.7
The Guardian | BV | 9.7 (3,000) | -46% | 3241 | 32.5
Jackass: Number Two | Par | 6.4 (2,120) | -56% | 3007 | 62.7
School for Scoundrels | MGM | 3.5 (1,170) | -59% | 3007 | 14.1
The Gridiron Gang | Sony | 2.4 (1,060) | -48% | 2228 | 36.7
Fearless | Focus | 2.3 (1,400) | -55% | 1617 | 21.7
The Illusionist | YF/FS/Odeon | 1.8 (1,600) | -33% | 1149 | 34.1
Little Miss Sunshine | Fox Searchlight | 1.3 (1,540) | -36% | 824 | 55
Trailer Park Boys | Alliance | 1.2 (6,680) | new | 181 | 1.2
Flyboys | MGM | 1.1 (730) | -55% | 1471 | 11.9
Facing the Giants | IDP | 1.0 (2,250) | -27% | 435 | 2.7
The Science of Sleep | WIP/Seville | .74 (3,290) | -34% | 225 | 2.8
The Black Dahlia | Uni | .56 (600) | -74% | 931 | 22
Also debuting/expanding
The Queen | Miramax | .39 (35,270) | 132% | 11 | 0.62
The Last King of Scotland | Fox Searchlight | .29 (9,770) | 105% | 30 | 0.53
Love’s Abiding Joy | Bigger Pics | .13 (720) | new | 185 | 0.13
Alex Rider: Operation Stormbreaker | Alliance | .10 (900) | new | 115 | 0.1
Little Children | New Line | .10 (20,640) | new | 5 | 0.1
ShortBus | Thinkfilm | 77,300 (19,330) | new | 4 | 0.08
Not a lot more to say.

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10 Responses to “Sunday Estimates by Klady”

  1. Monco says:

    Happy to see The Departed do so well, it’s a great film.

  2. austin111 says:

    Hmmmm….not bad for a 2.5 hour relatively hard R-Rated Flick. But it’ll be even more interesting to see how it holds up over time. I’m betting it’s still in a fair number of theaters up to December or so.

  3. AH says:

    I said it before and I’ll say it again; this thing will only do Inside Man business which, given its cost, means it will be much less profitable.
    Regardless of the box-office, it’s a pretty damn good movie.

  4. T.H.Ung says:

    20% more studio releases this year than last (303 vs. 251) because there’s more money in the market. Studios have used that money and put their own elsewhere. The rates of return aren’t materializing, so the money may go away. If it does, will the studios bring their own money back in? Marketing wants less movies because they can’t handle so many campaigns and distribution wants more because they want to hedge their bets and exhibitors do better with movies coming and going quickly. The multi-plexes were supposed to widen the offerings, but it hasn’t happened, the movies disappear fast or occupy multiple screens. (Paraphrased from Sunday Morning Shootout.)

  5. tfresca says:

    I’m very disappointed that Gridiron gang didn’t hang on. At this rate it won’t even limp to $50 million. A lot of studio folks are going to be disappointed. Nothing seems to be getting much traction. I stand by my previous statements that this will probably be the end of Jessica Simpson’s career as an actress.

  6. Argen says:

    Your mouth to God’s ear, tfresca. Hopefully she’ll take Cook down with her.

  7. What happened to Little Children? A debut average of just over $20,000 is not what you want for a film gunning for Oscars.
    However, it’s interesting to note that In the Bedroom opened with very similar numbers on the same amount of screens. But that was from a newcomer, had only minimal buzz at the time, and didn’t have Kate Winslet and Jennifer Connoly in it.
    I still don’t understand why the producers went out and publicly stated they wanted a $30mil opening.

  8. Krazy Eyes says:

    What were the specifics of the Alex Rider: Project Stormbreaker release? 900 per screen average from 115 screen. Ouch! That’s pretty bad considering the popularity of the books and some of the actors appearing in the film.

  9. David Poland says:

    I never saw them suggest anything like that, Kami, but New Line didn’t advertise much. Up against two major films for adult audiences (The Queen and The Departed), low awareness of the release made it a sitting duck. They were lucky to do what they did.

  10. Sorry, the $30mil comment was about the producers of The Departed. Or Warner Bros. One of those two came out and said they’re really looking for a $30mil opening.
    Lol, it was impossible for Little Children to do that.
    Krazy Eyes, Stormbreaker (which seems to go by a different title in every new country it opens in) also debuted horribly here in Australia, but when the school holidays started it eventually made it into the Top 10, maybe when it’s released into actual wide(ish?) release it’ll do better.
    Not that it looks any good mind you.
    Still, what’s with the titles? I’ve seen five different titles for this movie.

Quote Unquotesee all »

“But okay, I promise you now that if I ever retire again, I’m going to ensure that I can’t walk it back. I’ll post a series of the most disgusting, offensive, outrageous statements you can ever imagine. That way it will be impossible for me to ever be employed again. No one is going to take my calls. No one is going to want to be seen with me. Oh, it will be scorched earth. I will have torched everything. I’m going to flame out in the most legendary fashion.”
~ Steven Soderbergh

I feel strongly connected to young cinephile culture. The thing about filmmaking—and cinephilia—is that you can’t keep hanging out with your own age group as you get older. They drop off, move somewhere. You can’t put together a crew of sixty-somethings. It’s the same for cinephilia: my original set of cinephile friends are watching DVDs at home or delving into 1958 episodes of ‘Gunsmoke,’ something like that. The people who are out there tend to be young, and I happen to be doing the same thing still, so it’s natural that I move in their circles.

In terms of the filmmaking, there was a gear shift: my first movies focused on people around my age, and I followed them for three films. Until The Unspeakable Act, I was using the same actors, not because of an affinity for people at a specific age, but because of my affinity for the actors. I like to work with actors a second time, especially if I don’t feel confident casting a new film. But The Unspeakable Act was a different script, and I had to cast all new people. Even for the older roles, I couldn’t get the people I’d worked with before. But when it was over, the same thing happened: I wanted to work with Tallie again in the worst way, and I started the process all over again.

I think Rohmer did something similar around the time of Perceval and Catherine de HeilbronnHe developed new groups of people that he liked to work with. These gear shifts are natural. Even if you want to follow certain actors to the end of their life (which I kind of do) the variety of ideas that you generate makes it necessary to change. And once you’ve made the change, you’ve got all these new people around.”
~ Dan Sallitt