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David Poland

By David Poland poland@moviecitynews.com

Friday Estimates by Master Box Office Klady

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9 Responses to “Friday Estimates by Master Box Office Klady”

  1. movieman says:

    Bleuch.
    It’s a shitty weekend for everything but “LEGGO” and (sort of) “The Wind Rises.”
    All of last weekend’s Festivus-fueled “hits” (“ALN,” “Endless Love,” “Robocop”) collapsed, both new wide releases pretty much tanked and the other two high profile limited-ish releases (“In Secret” and “Omar”) were D.O.A.
    “Secret” isn’t great, but it’s not appreciably worse than the Wasikowska/Fassbender “Jane Eyre” from a few years back which did decently enough.
    And “Omar” is actually pretty terrific; kind of shocked that it didn’t open better buoyed by excellent reviews and its Oscar nomination.

  2. Bulldog68 says:

    But Three Days to Kill has a modest budget so a $10m opening is not a disaster. Granted with Non-Stop coming next week, it may not get to $30m domestically but with international it should be okay.

    Pompeii is a disaster domestically however, and will be looking to pull a Robocop with it’s international numbers, otherwise it joins the steaming pile of genre disasters already being racked up this year, including I Frankenstein and Hercules.

  3. EtGuild2 says:

    Aw, I loved Fukunaga’s take on “Jane Eyre.” It doesn’t live up to the BBC miniseries, but it certainly is a cut above previous movies.

    I thought “In Secret” was disappointingly stilted. Carné’s version of the novel was on TCM recently, and while it’s slow-moving, it kept me glued to the screen. On the other hand, Zola’s classic is probably going to be forever associated with “Thirst,” the Chan-woork Park vampiric interpretation a few years back, which is a borderline masterpiece.

  4. EtGuild2 says:

    Double post.

  5. chris says:

    Storm effect? The Midwest pretty much can’t go to the movies this weekend.

  6. cadavra says:

    Back in the old days, Sony (well, Columbia) would’ve quickly made POMPEII and ROBOCOP into a double feature to keep them in theatres. Those, alas, were the days.

  7. movieman says:

    Cad- I think we might be the only ones who still remember the days of “circuit double bills.”
    Yeah.
    Robocop” and “Pompeii” would have made a particularly nice pairing: two entertaining, well-tooled genre films.
    Ditto “Legend of Hercules” and “I, Frankenstein,” although I’m not sure how “nice” it would’ve been for anyone forced to sit (back to back, no less) through those stinkers.

  8. movieman says:

    Et-While no great shakes, I found “In Secret” (dopey title notwithstanding) an easy enough sit.
    And that last scene is really kind of great.
    Maybe Roadside would have been better off opening on 10-15 screens instead of 200+.

  9. YancySkancy says:

    Masterpiece Theater did a great production of “Therese Raquin” back in the early 80s. Kate Nelligan, Brian Cox, Mona Washbourne, a small part for Alan Rickman.

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MAMET
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Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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