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MCN Columnists
Leonard Klady

Klady By Leonard KladyKlady@moviecitynews.com

Fly Like an Eagle

There was little ocular strain as audiences focused on the anxiety-raising Eagle Eye with a potent debut estimated at $29.5 million. The weekend leader’s closest competition came from another newcomer, the romantically drenched Nights of Rodanthe that grossed $13.7 million. Two other films bowed nationally with the uplifting drama Fireproof preaching effectively to $6.4 million…

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Paul Newman

You knew something was wrong when Paul Newman announced that he was retiring from acting a couple of years ago. Oh, there had been others that had made it “official” in the past. Cary Grant stuck to his guns and Cagney stayed out of the picture for two decades until his doctor ordered him back to work. Grace…

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Suburban Crawl

The debut of Lakeview Terrace was the idyll of choice for weekend movie goers as it grossed an estimated $15.4 million. Three other films bowed in the current session including the Dane Cook comedy My Best Friend’s Girl that ranked third with $8.3 million and the family animated offering Igor that opened to $7.6 million….

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Pyromaniac’s Revenge

In a hotly contested weekend race, the political comedy Burn After Reading emerged as the box office leader with an estimated $19.2 million. Two other debuting titles were right behind with Tyler Perry’s relative drama The Family That Preys grossing $18 million and the DeNiro-Pacino cop meller Righteous Kill posting a $16.4 million box office….

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The Weekend Report: September 7, 2008

There’s no Weekend Report column this weekend. Leonard Klady is Festivaling in Toronto. Weekend Estimates – September 5-7, 2008 Title Distributor Gross (average) % change Theaters Cume Bangkok Dangerous Lions Gate 7.9 (2,990) – 2650 7.9 Tropic Thunder Par 7.3 (2,120) -36% 3446 96.6 The Dark Knight WB 5.7 (2,210) -34% 2575 512.2 The House…

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Slow and Sure

Tropic Thunder executed the hat trick as its estimated $14.5 million holiday weekend tally emerged as the top viewing choice. As the season came to a close a quartet of new national releases sought some late breaking coin. The sci-fi opus Babylon A.D. was ranked second with $12.1 million while the spy thriller Traitor slipped…

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Klady

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Quote Unquotesee all »

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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