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David Poland

By David Poland poland@moviecitynews.com

Sunday Estimates by Klady

What else is there to say?
The Grudge 2 suffered mightily as the weekend progressed. Everything else was kind of as expected from the Friday numbers.
The Queen continues to impress, though it is worth pointing out that The Illusionist, which has been a bit of a surprise hit, did nearly the same number on 51 screens on its opening weekend ($927,956 on 51 screens) and Little Miss Sunshine did a little bit better ($1.48m on 58 screens) in its second weekend. Will that put The Queen at a between-the-two $45 million domestic? Miramax sure hopes so!
Deliver Us From Evil is getting a lot of well-deserved attention from the media, but in its first weekend, it did not translate to much box office. It

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8 Responses to “Sunday Estimates by Klady”

  1. Wrecktum says:

    Illusionist is still plugging away. It’ll be fresh in people’s minds next week when The Prestige opens. I wonder how the comparison will affect reviews of the new film?

  2. Jimmy the Gent says:

    I’m very pleased that The Departed held its own against The grudge 2. It’s a major achievement, a rare serious-minded adult movie that’s connecting at the box office.
    Is a $25 million total for a lowbrow Dane Cook vehicle really a bad number? Considering the guy has no box office track record I’d think this would be a good number. I guess it’s all about expectations.
    Will the Greatest Generation turn out next week to support their boy Eastwood? Or. are epople exhausted by WWII movies? I have a feeling that’s why Spielberg handed off the movie to Eastwood. He’d been there, done that.

  3. EDouglas says:

    Anyone know when Miramax is planning on opening The Queen wide? At this point, they could probably keep it fairly limited for a few weeks and save a major expansion for post GGs, but that’s two months away. All I know is that they should start looking at how Capote expanded (only went wide in early February) and get away from the Vera Drake model (The Queen is already well ahead of that other British movie with a critically hailed female performance.)

  4. EDouglas says:

    The real question re: Deliver Us from Evil is who is going to piss in the pool and ruin its 100% positive on RottenTomatoes. I have a feeling that the subject matter might put a lot of people off, much like with Little Children (which actually held up well in its second weekend despite no expansion… similar to In the Bedroom if I recall.)

  5. Blackcloud says:

    I want an answer to EDouglas’ question, too. Where I am “The Queen” is playing only at the two Landmark Theatres in town. I’m too lazy to go there.

  6. xiayun says:

    Sideways didn’t expand to more than 500 theaters until the week before nominations were announced. I believe The Queen will follow similar route. So far, their release patterns have been very similar.

  7. Well, in concern on Deliver, not many people find the topic of peadophiles that theatrically enticing.

  8. palmtree says:

    The Queen was playing in a local multiplex where I am, which pleasantly surprised me.

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“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