The Weekend Report Archive for August, 2007

Bean Counters

August 26, 2007 Weekend Finals Domestic Market Share Superbad continued as the top draw in North American multiplexes with an estimated $17.9 million that represented a 46% drop in its second weekend in release. In these dog days of summer there was only limited solace for a torrent of new product hoping to get a…

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You’ve Got That McLovin’ Feeling

August 19, 2007 Weekend Finals Domestic Market Share You can’t get me to say that Superbad was super good but the film that one critic extolled as “the Lawrence of Arabiaof teen pics” out-grossed the field with an estimated $31.4 million in another upbeat movie going session. The super total largely compensated for poor openings for The…

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Feel the Rush …

August 12, 2007 Weekend Finals Domestic Market Share Three was a charm for Rush Hour as it debuted at the top of the charts with an estimated $50.8 million. The heat from the Chan-Tucker action comedy got minimal assistance from a trio of other national debuts. The fantasy adventureStardust failed to sparkle with a fourth place…

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Bourne Again …

August 4 , 2007 Weekend Estimates Canada: Weekend Estimates Domestic Market Share The third installment of the Jason Bourne saga – The Bourne Ultimatum – reigned supreme at the box office with an estimated debuted of $70.3 million. In another expansive frame three other releases had average to poor bows including canine crusader Underdog that ranked third…

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch