The Weekend Report Archive for May, 2007

Yo Ho Ho!

May 28, 2007 Weekend Estimates Domestic Market Share Pirates of the Caribbean: At World’s End dropped anchor with an estimated $143.2 million to plunder weekend movie going. The third installment of the popular franchise accounted for about 55% of the record Memorial holiday ticket sales. The frame also saw a wan $4 million debut for…

Read the full article »

The Greening of America

May 20, 2007 Weekend Estimates Domestic Market Share The new jolly giant, Shrek the Third, broke box office records with an estimated $122.2 million debut that accounted for roughly two-thirds of all ticket sales in North America. The competition steered clear of the commercial behemoth, though rapturous reviews for the Irish import Oncegenerated sell-out business in two…

Read the full article »

How Long Came a Spider

May 13, 2007 Weekend Finals Weekend Estimates Domestic Market Share Spider-Man 3 declined 60% for an estimated $60.2 million weekend. It handily beat out a quartet of new releases that included second and third place finishes for 28 Weeks Later at $10.1 million and Georgia Rule with $5.8 million. The other national freshmen were Delta Farce grossing $3.2…

Read the full article »

May 6 , 2007

May 6 , 2007 Weekend Estimates Domestic Market Share Weekend Estimates – May 4-6, 2007 Title Distributor Gross (avera % chan Theater Cume Spider-Man 2 Sony 150.8 (34,800) – 4333 150.8 Disturbia Par 5.6 (1,780) -38% 3132 59.7 Fracture New Line 3.5 (1,500) -48% 2365 26.6 The Invisible BV 3.1 (1,550) -59% 2019 12.3 Next…

Read the full article »

The Weekend Report

movieman on: The Weekend Report

Eric N on: Weekend Report

Judi Levine on: The Weekend Report

Steph on: The Weekend Report

laura rue on: The Weekend Report

Sam on: The Weekend Report

Peter on: The Weekend Report

Isah Adomoc on: The Weekend Report

K. Bowen on: The Weekend Report

charlesmayaki on: The Weekend Report

Quote Unquotesee all »

“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