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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“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