The Weekend Report Archive for October, 2007

Close Shave

October 28, 2007 Weekend Estimates Domestic Market Share It was Veni, Vidi, Vici for Saw IV as it cut a neat swath estimated at $32.4 million to take the lead in the weekend box office race. The frame also delivered good results for the Steve Carrell romantic comedy Dan in Real Life of $12 million to clinch…

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October 21, 2007

October 21, 2007 Weekend Estimates Domestic Market Share Weekend Estimates – October 19-21, 2007 Title Distributor Weekend % change Theater Cume 30 Days of Nights Sony 15.8 (5,540) – 2855 15.8 Why Did I Get Married? Lions Gate 11.7 (5,770) -45% 2034 38.5 The Game Plan BV 8.2 (2,480) -26% 3301 69.2 Michael Clayton WB…

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We Own the Altar….

October 14, 2007 Weekend Estimates Domestic Market Share Why Did I Get Married?, the latest from actor-filmmaker Tyler Perry, led weekend movie going in its debut with an estimated $22.9 million. The frame also saw the thriller We Own the Night bow third overall with $10.8 million and an OK bow for Elizabeth: The Golden Age of…

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Cardiac Arrest ….

October 7 , 2007 Weekend Estimates Domestic Market Share The second weekend of The Game Plan reigned supreme at the top of the charts with an estimated $16.2 million. However, it was the debut of The Heartbreak Kid that had tongues wagging and not simply because of its disappointing $13.9 million opening. The frame also…

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“With any character, the way I think about it is, you have the role on the page, you have the vision of the director and you have your life experience… I thought it was one of the foundations of the role for John Wick. I love his grief. For the character and in life, it’s about the love of the person you’re grieving for, and any time you can keep company with that fire, it is warm. I absolutely relate to that, and I don’t think you ever work through it. Grief and loss, those are things that don’t ever go away. They stay with you.”
~ Keanu Reeves

“I was checking through stuff the other day for technical reasons. I came across The Duellists on Netflix and I was absolutely stunned to see that it was exquisitely graded. So, while I rarely look up my old stuff, I stopped to give it ten minutes. Bugger me, I was there for two hours. I was really fucking pleased with what it was and how the engine still worked within the equation and that engine was the insanity and stupidity of war. War between two men, in that case, who fight on thought they both eventually can’t remember the reason why. It was great, yeah. The great thing about these platforms now is that, one way or another, they’ll seek out and then put out the best possible form and the long form. Frequently, films get cut down because of that curse in which the studio felt or feels that they have to preview. And there’s nothing worse than a preview to diminish the original intent.Oh, yeah, how about every fucking time? And I’ve stewed about films later even more because when you tell the same joke 20 times the joke’s no longer funny. When you tell a bad joke once or twice? It’s fine. But come on, now. Here’s the key on the way I feel when I approach the movie: I try to keep myself as withdrawn from the project as possible once I’ve filmed it. And – this is all key on this – then getting a really excellent editor so I never have to sit in on editing. What happens if you sit in is you become stale and every passage or joke, metaphorically speaking, gets more and more tired. You start cutting it all back because of fatigue. So what you have to do is keep your distance and therefore, in a funny kind of way, you, as the director, should be the preview and that’s it.”
~ Sir Ridley Scott