The Weekend Report Archive for February, 2007

The Number 911…

February 25, 2007 Weekend Finals Domestic Market Share Despite a not unexpected 57% box office decline, Ghost Rider continued to hold the top spot on weekend movie going charts with an estimated $19.5 million gross. The frame saw a quartet of new openers but none rated better than passable commercial grades. The chiller The Number 23 ranked…

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Ghost Rider In The Sky …

February 19, 2007 Weekend Finals Domestic Market Share Despite a plethora of product, Ghost Rider ascended with a super heroic gross estimated at $53.2 million. The film shattered all previous Presidents Day holiday openings and propelled the frame to record revenues. It was also generally upbeat news for a quartet of freshmen entries. The family…

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Bit By Norbit …

February 11, 2007 Weekend Estimates Domestic Market Share The audience Norbit hard with the Eddie Murphy comedy commanding the weekend with an estimated $33.3 million. The strong bow nonetheless allowed Hannibal Rising to chomp down on a sizeable $12.9 million gross in a frame that rebounded from the Super Bowl but still lagged behind last year’s post performance….

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90 Million American Can’t Be Wrong …

February 4 , 2007 Weekend Estimates Domestic Market Share The Messengers didn’t require Western Union to top weekend movie going charts with an estimated $14.8 million. The horror yarn was followed by another freshman entry – Because I Said So – that grossed $13.1 million. Otherwise it was a relatively quiet frame with distributors giving a…

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“When books become a thing, they can no longer be fine.

“Literary people get mad at Knausgård the same way they get mad at Jonathan Franzen, a writer who, if I’m being honest, might be fine. I’m rarely honest about Jonathan Franzen. He’s an extremely annoying manI have only read bits and pieces of his novels, and while I’ve stopped reading many novels even though they were pretty good or great, I have always stopped reading Jonathan Franzen’s novels because I thought they were aggressively boring and dumb and smug. But why do I think this? I didn’t read him when he was a new interesting writer who wrote a couple of weird books and then hit it big with ‘The Corrections,’ a moment in which I might have picked him up with curiosity and read with an open mind; I only noticed him once, after David Foster Wallace had died, he became the heir apparent for the Great American Novelist position, once he had had that thing with Oprah and started giving interviews in which he said all manner of dumb shit; I only noticed him well after I had been told he was An Important Writer.

“So I can’t and shouldn’t pretend that I am unmoved by the lazily-satisfied gentle arrogance he projects or when he is given license to project it by the has-the-whole-world-gone-crazy development of him being constantly crowned and re-crowned as Is He The Great American Writer. What I really object to is this, and if there’s anything to his writing beyond it, I can’t see it and can’t be bothered. Others read him and tell me he’s actually a good writer—people whose critical instincts I have learned to respect—so I feel sure that he’s probably a perfectly fine, that his books are fine, and that probably even his stupid goddamned bird essays are probably also fine.

“But it’s too late. He has become a thing; he can’t be fine.”
~ Aaron Bady

“You know how in postproduction you are supposed to color-correct the picture so everything is smooth and even? Jean-Luc wants the opposite. He wants the rupture. Color and then black and white, or different intensities of color. Or how in this film, sometimes you see the ratio of the frame change after the image begins. That happens when he records from his TV onto his old DVCAM analog machine, which is so old we can’t even find parts when it needs to be repaired. The TV takes time to recognize and adjust to the format on the DVD or the Blu-ray. Whether it’s 1:33 or 1:85. And one of the TVs he uses is slower than the other. He wants to keep all that. I could correct it, but he doesn’t want me to. See, here’s an image from War and Peace. He did the overlays of color—red, white, and blue—using an old analog video effects machine. That’s why you have the blur. When I tried to redo it in digital, I couldn’t. The edges were too sharp. And why the image jitters—I don’t know how he did that. Playing with the cable maybe. Handmade. He wants to see that. It’s a gift from his old machine.”
~ Fabrice Aragno