MCN Columnists
Leonard Klady

By Leonard Klady

The Weekend Report: August 9, 2009

Weekend Estimates: August 7-9, 2009

Title Distributor Gross (averag % change Theater Cume
G.I. Joe: Rise of Cobra Par 56.6 (14,120) 4007 56.6
Julie & Julia Sony 19.6 (8,320) 2354 19.6
G-Force BV 9.7 (2,790) -45% 3482 86
Harry Potter and the Half-Blood Prince WB 8.9 (2,570) -51% 3455 273.8
Funny People Uni 7.8 (2,600) -65% 3008 40.4
The Ugly Truth Sony 6.6 (2,220) 2975 2975 68.7
A Perfect Getaway Uni 5.7 (2,620) 2159 5.7
Aliens in the Attic Fox 3.9 (1,260) -51% 3108 16.2
(500) Days of Summer Fox Searchlight 3.7 (4,490) 32% 817 12.3
The Orphan WB 3.7 (1,610) -51% 2270 34.8
The Hangover WB 3.4 (1,990) -35% 1690 262
Transformers: Revenge of the Fallen Par 3.0 (1,550) -36% 1948 393.7
The Proposal BV 2.8 (1,490) -44% 1870 151.6
Ice Age: Dawn of the Dinosaurs Fox 2.5 (1,440) -55% 1727 187.7
The Hurt Locker Summit 1.2 (2,320) -35% 535 9
The Collector FreeStyle 1.2 (960) -66% 1270 6.3
Public Enemies Uni 1.0 (1,060) -62% 906 95.5
Up BV .061 (1,410) -48% 431 287.4
Night at the Museum 2 Fox .44 (1,340) -21% 329 174.8
Du Pere en flic Alliance .42 (4,560 -28% 92 7
Weekend Total ($500,000+ Films) $141.90
% Change (Last Year) 23%
% Change (Last Week) 15%
Also debuting/expanding
Paper Heart Overture .20 (5,330) 38 0.2
In the Loop IFC .18 (3,680) -37% 50 0.87
The Cove Roadside Attract. .16 (2,724) 174% 58 0.24
Adam Searchlight .10 (5,060) 49% 20 0.24
Cold Souls IDP 81,300 (11,610) 7 0.08
Thirst Focus 52,600 (6,580) -6% 8 0.14
Bliss First Run 6,150 (6,150) 1 0.01
Beeswax Cinema Guild 5,750 (5,750) 1 0.01
I Sell the Dead IFC 4,100 (4,100) 1 0.01

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas