The Weekend Report Archive for March, 2007

Target: Cowabunga …

March 25, 2007 Weekend Finals Domestic Market Share TNMT – aka Teenage Mutant Ninja Turtles – led weekend movie going with an estimated $25.6 million. In a session dominated by openings of six national releases box office grew but there was no getting around the fact that the preems weren’t quite at peak box office potential….

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Knee Jerk Reaction …

March 18, 2007 Weekend Finals Domestic Market Share The Spartans of 300 were still commanding the field even as their energies diminished by 56% to an estimated $31.3 million. Meanwhile the incoming forces had mixed effect with the chiller Premonition scarring up an impressive $17.7 million to rank third; followed by OK returns of $7.7 million for…

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Sparkin’ Spartans …

March 11, 2007 Weekend Estimates Domestic Market Share The eye-popping graphics of 300 corralled close to half of weekend business with a staggering estimate of $69.5 million. The historic drama was virtually the only new national release though the inspirational The Ultimate Gift did unspool in 800 locations for a $1.2 million tally. Additionally there…

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Hog Wild …

March 4, 2007 Weekend Estimates Domestic Market Share It was the snort of approval for Wild Hogs and – in the words of Borat – not so much for Zodiac. The two freshmen entries debuted in the top two slots for weekend moviegoers with respective estimated grosses of $38.1 million and $12.9 million. Overall business saw a…

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“The important thing is: what makes the audience interested in it? Of course, I don’t take on any roles that don’t interest me, or where I can’t find anything for myself in it. But I don’t like talking about that. If you go into a restaurant and you have been served an exquisite meal, you don’t need to know how the chef felt, or when he chose the vegetables on the market. I always feel a little like I would pull the rug out from under myself if I were to I speak about the background of my work. My explanations would come into conflict with the reason a movie is made in the first place — for the experience of the audience — and that, I would not want.
~  Christoph Waltz

This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.