By continuing to use the site you agree to our Privacy & Cookies policy

Leonard Klady

  • Catch me if you can


    Tom Hanks’ genial, engaging persona has made him one of the most successful film stars in the world. We examine the key territories for Hanks at the box office.
  • Barrymore


    Dir/scr: Erik Canuel. Canada. 2011. 85mins
  • Habibi


    Dir/scr: Susan Youssef. Palestine-Netherlands. 2011. 78mins
  • From The Sky Down


    Dir: Davis Guggenheim. US. 2011. 88mins
  • The Love We Make


    Dirs; Albert Maysles, Bradley Kaplan. US. 2011. 94mins
  • March of the caped crusaders


    With the majority of superhero films based on adaptations of US comic books, how well do these titles and franchises perform in territories not familiar with the original characters?
  • Down but not out


    Without Avatar or Alice In Wonderland to set the pace, the first quarter global box office in 2011 was down on 2010. Screen examines what the numbers reveal.
  • The art of travel


    Animated films perform well at the global box office and are holding up on DVD, but how well do international productions perform outside their home territories? Leonard Klady reports
  • Cage unlocked


    Nicolas Cage cut his teeth playing offbeat characters in independent films before changing gears to become a major blockbuster star. With Ghost Rider: Spirit Of Vengeance and Drive Angry coming up in 2011, Leonard Klady assesses Cage’s continuing appeal at the global box office
  • Global Positioning


    The importance of the international box office increases year after year. Leonard Klady looks back at the lessons learned from 2010’s major releases, and how the value of their international earnings compares with domestic.
  • Headline grabbers


    From Buckingham Palace to Wall Street and the Middle East to Eastern Europe, the real world is a rich source of material for film-makers. Leonard Klady reports on the pitfalls and the box-office potential of stories which are ripped from the headlines
  • Casino Jack


    Director: George Hickenlooper. Canada. 2010. 108mins
  • Griff The Invisible


    Dir/scr: Leon Ford. Australia. 2010. 94mins
  • Trust


    Dir: David Schwimmer. US. 2010.104mins
  • Score: A Hockey Musical


    Dir/scr: Michael McGowan. Canada. 2010. 92mins
  • How small screen success translates to the big screen


    Films adapted from or inspired by television series have been around nearly as long as TV sets ? but there is no guarantee that success on the small screen will transfer to the international box office. Leonard Klady reports
  • The track record behind the Title


    The last year may have seen some costly underperformers in The Boat That Rocked and Green Zone but, as Leonard Klady reports, Universal-owned Working Title Films can draw on a stellar track record and a series of franchises to move forward.
  • The unpredictable star


    John Travolta is unique among marquee-names for the breadth of genres he has tackled, his lack of reliance on sequels and his ability to play both good and bad guys to equal effect. In the first of a series looking at the box-office track records of producers, film-makers and stars, Leonard Klady assesses Travolta’s performance outside the US.
  • International box office - End of the affair


    International box-office revenues rose 5.1% in 2008 to $16.1bn in contrast to a flat US domestic performance. But the international picture is more mixed than it first appears. The fourth quarter of last year saw an international box office decline of 2.3% with only the first quarter of the year showing a sizeable revenue increase, around a 30% rise.
  • United States - The returns from Batman and Friends


    Domestic box office picked up just enough steam in the latter half of December to finish the calendar year with a tally of $9.685bn - just $2m up on 2007*.
  • Worldwide - Here comes the crunch


    Cinema may still prove to be recession-proof but the third-quarter figures for international markets do not suggest people are rushing to the multiplex for escapist entertainment.
  • International - 3D's looking flat


    Can technical innovation save the movie theatre as it faces up to a period of extreme competition'
  • In Focus: Thedomestic summer box office


    Domestic revenues for the four-month summer season from early May to Labor Day in September reached $4.2bn. That's a box- office decline of 1% from 2007 with admissions down by about 7%. At first glance, then, the overall picture appears disappointing.
  • The international view - Bringing it all back home


    Screen's first-quarter box-office survey indicates a widening gap between international and domestic performance. While US and Canadian revenues ran around 3% off the 2007 pace, the international tally was 30% up year on year. In financial terms that means the international market was responsible for $4.28bn (71%) of the $6.5bn generated worldwide in Q1.
  • Glickman says piracy concerns overshadow Internet neutrality


    Wedged somewhat gingerly in Motion Picture Association of American chairman Dan Glickman's address at the ShoWest convention last week was a discreet reference that opposed federal legislation intended to pave the way for 'net neutrality.'
  • The International View - Summer's thirst for firsts


    I don't think we're ever going to see a summer like last year that was so reliant on sequels and remakes," suggests Fox distribution executive Chris Aronson. "And that's a good thing."
  • The international view - Going for Oscar gold


    Predicting the Oscar nominations is not an exact science, not least because the arcane voting system tends to throw up left-field candidates.
  • International Box Office review 2007


    By December 9, the six US majors - Twentieth Century Fox, Universal Pictures, Paramount Pictures, Warner Bros, Sony and Walt Disney Studios - had recorded a total box office of more than $8.6bn in the international marketplace, surpassing their combined international gross for the whole of 2006 ($8.5bn).
  • The Russians are coming' Leonard Klady looks at the 'Russian disconnect' at the international box office.


    We all know about the great tradition of Russian cinema that embraces such movie gods as Eisenstein and Pudovkin, Tarkovsky and Bondarchuk. The modern scene post-Glasnost is another matter.
  • International - Land of opportunity'


    The following glass half full/half empty debate has been going on for as long as I can remember. On the one hand is the argument that there's never been a worse time for independent and alternative film to get access to the North American marketplace. On the other hand, the market remains a vitally important one for international productions.
  • My Winnipeg


    Dir: Guy Maddin.Canada, 2007, 80 Mins.
  • Young People Fucking


    Dir: Martin Gero. Canada, 2007. 91 MinsYoung People Fucking is quite clearly a title that's out to grab one's attention. Neither documentary nor hardcore, it's an ingeniously constructed pastiche of sexual encounters presented affectionately and with humour. Reminiscent of American independent movies of the 1980s, the film should really be titled 'Young People Talking About Sex'. There's too much talk and not enough action in ...
  • Shake Hands with the Devil


    Dir. Roger Spottiswoode. Canada 2007, 113 Mins.The tragic recent history that informed Hotel Rwanda is viewed from another angle in Shake Hands with the Devil. Viewed from the perspective of General Romeo Dallaire, who commanded United Nations forces during the 1993 crisis, it paints a picture of broader dimension that makes the earlier film appear restrained by comparison. The horror is as vividly recalled but the implications of indifference and ...
  • Poor Boy's Game


    Dir. Clement Virgo. Canada , 2007. 102 Mins.Racial tension in an unusual setting and a quiet, authoritative voice pack a surprising punch in Poor Boy's Game, a new film from Afro-Canadian filmmaker Clement Virgo. Though framed around a grudge match in the boxing ring, the film has a considerably broader scope than the canvas and ropes. The intimate drama turns on an act of violence, its social-political echoes and issues of redemption and forgiveness.
  • Silk


    Dir. Francois Girard. Canada/Italy/Japan 2007. 112 Mins.
  • International - A bigger picture


    As far as the film industry is concerned, it's a long hot summer. It defies seasonal or calendar considerations, running 18 weeks from early May through to the first weekend in September.
  • Alternative view - Which local films have withstood the blockbusters'


    In North America, the vast majority of non-blockbuster product has not lasted more than two weeks on screen this summer. There have been exceptions, including Universal's Knocked Up and MGM's horror 1408. And there was good news for a few niche movies including Waitress, La Vie En Rose, Sicko, Once and in Quebec, the action-thriller Nitro.
  • Bladerunner: making the cut


    Why do audiences have to wait for a DVD to see the movie the director really wanted to make' Leonard Klady argues the case.
  • Box-office opinion: rise of the machines


    Multiplexes were originally envisaged as a way of expanding choice, but are now being dominated by a handful of titles, argues Len Klady.
  • Box-office opinion: India can strike the right note


    India's film industry is facing huge challenges, but a global breakout success may not be far away, says Len Klady
  • Box office opinion: is word of mouth mere lip service'


    No-one really knows what word-of-mouth is, whether it works or how to measure it. So what use is it, asks Leonard Klady.
  • Box office: the global perspective


    With 2007 on course to break box-office records, Leonard Klady explores how developments in the international market hold the key to the future of the film industry.
  • Box-office: undiscovered territory


    Current measures of the international market fail to include more than a sixth of the world's population, says Len Klady
  • Wanted: new horizons


    The film industry cannot base its hopes for expanding audiences on a diet of recycled ideas, says Leonard Klady.
  • The festival treasure hunt


    Back in 1992, Canadian distributor Jim Murphy was on the prowl, as ever, for new, unheralded movies to acquire. On the opening day of the Cannes film festival, he trudged off to the Olympia Cinema for the first market screening of the day. It was a debut effort by an Australian film-maker that was still wet from the lab. When the lights went up, he made a bee-line for the sales agent and cemented a deal for all rights in Canada.
  • How to make a spider fly


    The webslinger's runaway international success represents a first and a last for the movie business, says Leonard Klady.
  • Cannes do attitudes


    It is difficult to imagine what the mood was like at the inaugural Cannes film festival, which this year reaches its 60th birthday.
  • High-disappointment DVD


    About two weeks ago, Jeffrey Katzenberg said in the course of an interview he was not particularly impressed with the new high-definition DVDs such as Blu-ray. He did not see much in the way of improvements from the standard format discs. Neither the image nor the sound did much to enhance the experience in the rapidly evolving home entertainment field, in his view.
  • Box-office analysis: what dreams may come


    The merger between London-based HanWay Films and France's Celluloid Dreams promises to produce 'bigger' films (see In Focus, p6-8). We'll have to see what 'bigger' encompasses in this case - but do not expect anything quite as grand as the sort of film Graham King produces or some of the past efforts of Saul Zaentz.
  • The fight to be seen


    ShoWest convention last month, National Association of Theater Owners president John Fithian characterised the digital future of cinema-going as the most radical change to the way we watch movies since the advent of sound. Whether that proves to be true or not, it is fair to say the transition is proving to be fractious. What ultimately will transpire is apt to both confirm what crystal ball-gazers are saying and surprise us with totally unexpected consequences.The arrival of this ...
  • Playing to the crowd


    One of the great debates for international film is why movies so rarely trouble the box office beyond their national boundaries. For all the talk of cultural diversity, the blockage generally comes down to the simple fact of language. Dubbing and subtitles remain a big obstacle.
  • Not a fare deal


    Back in 1998, Luc Besson concocted an idea for a movie that would be sheer mayhem. According to lore, he had in mind nothing more than creating a serviceable story thread on which to hang a lot of vehicular action and the excuse to wreck a lot of cars: he wanted to destroy more motor vehicles than any other film in movie history.
  • Ask the audience


    Last year at the ShoWest exhibition convention, Motion Picture Association of America (Mpaa) chairman Dan Glickman announced a study to try to pin down the truth about that mysterious animal, the movie-goer.
  • Data protection


    This week, the Motion Picture Association of America (Mpaa) sent out a press release under the triumphal headline: '2006 box office rebounds'.
  • Language barriers


    It is a longstanding tradition that the day prior to the Academy Awards, the directors of the films nominated in the foreign-language category take to the stage of the Samuel Goldwyn Theater and talk about their work and the state of international cinema.
  • Foreign affairs


    The Los Angeles Times recently ran an editorial that put forward an argument for the elimination of the foreign-language category at the Academy Awards. Its point was that "foreign film-making talent is represented in record numbers" in all categories and therefore in no need of special support.
  • Daydream believers


    Blood Diamond and The Pursuit Of Happyness significantly expanded into the international marketplace earlier this month. About six months ago, the marketing and distribution staffs of the films' respective studios sat down and weighed different release scenarios. Based on available materials and the timing of the domestic debuts, they had to give significant attention to an awards campaign.
  • Stand and Deliver


    Some industry expressions are like adhesive plasters. In that category the one that I find most nettlesome is the one that insists it is a product-driven marketplace. On the surface it implies simply that the films themselves determine the size of the audience; the better the choices, the larger the size of the audience.
  • Staying home


    There has always been a realm of movies where there is a tacit understanding that its inhabitants will not cross borders. Last weekend, local productions topped box-office charts in Italy, South Korea, France, China, Thailand, Denmark and Poland. The likelihood of any of these crossing oceans and finding welcoming cineastes is probably remote.
  • Worldwide - Fight for share


    There is something innately arcane about market share statistics and yet they are a ferocious obsession for players in the film industry. Pies and graphs breaking down revenues in North America and in key international territories are not uncommon. But judging market share for the entire international market with a true global perspective throws up real difficulties.
  • Domestic box office - Story behind the numbers


    Figures only tell so much. The domestic market generated slightly more than $9.23bn ticket sales during 2006. It represented an increase of 3.8% in box office but as is said of some horse races, admissions were too close to call.
  • Stuck at home


    There is a kind of gold-rush mentality attached to the holiday season in just about every part of the globe. The Hollywood majors unleash dozens of fun rides and the rest of the world follows suit.