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Has Indie Spirit Nomination Hurt Oscar Chances for “12 Years a Slave”?

Roger Friedman
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Has Indie Spirit Nomination Hurt Oscar Chances for “12 Years a Slave”?

The 2014 Indie Spirit Award nominees have been announced. They will overlap once again with the Oscars, with many of the same names turning up in both places. Three of the Best Feature nominees– 12 Years a Slave, Nebraska and Inside Llewyn Davis– could very well be Oscar nominees.

Certainly the five Best Actor nominees could be the five for the Academy Awards.

Many of the nominations are scattershot. For example, Woody Allen has nominations for Best Director and Screenplay and Cate Blanchett for Best Actress. But “Blue Jasmine” isn’t nominated for Best Feature.

“Fruitvale Station” was the best indie feature of the year, but it’s only up for Best First Feature. Somehow “Frances Ha” was nominated for Best Feature, but not its actresses, director, writer, etc. They should call it Frances Huh?

Does this minimize “12 Years a Slave”? You bet. Only once in the last dozen years has a movie– “The Artist”– gotten Best Indie and Best Picture the next night at the Oscars. Not so sure FoxSearchlight should have included it in this rodeo.

BEST FEATURE
(Award given to the producer) * Executive Producers are not listed.

12 YEARS A SLAVE
PRODUCERS: Dede Gardner, Anthony Katagas, Jeremy Kleiner, Steve McQueen, Arnon Milchan, Brad Pitt, Bill Pohlad

ALL IS LOST
PRODUCERS: Neal Dodson, Anna Gerb

FRANCES HA
PRODUCERS: Noah Baumbach, Scott Rudin, Rodrigo Teixeira, Lila Yacoub

INSIDE LLEWYN DAVIS
PRODUCERS: Ethan Coen, Joel Coen, Scott Rudin

NEBRASKA
PRODUCERS: Albert Berger, Ron Yerxa

 

BEST FIRST FEATURE
(Award given to the director and producer)

BLUE CAPRICE
DIRECTOR/PRODUCER: Alexandre Moors
PRODUCERS: Kim Jackson, Brian O’Carroll, Isen Robbins, Will Rowbotham, Ron Simons, Aimee Schoof, Stephen Tedeschi

CONCUSSION
DIRECTOR: Stacie Passon
PRODUCER: Rose Troche

FRUITVALE STATION
DIRECTOR: Ryan Coogler
PRODUCERS: Nina Yang Bongiovi, Forest Whitaker

UNA NOCHE
DIRECTOR/PRODUCER: Lucy Mulloy
PRODUCERS: Sandy Pérez Aguila, Maite Artieda, Daniel Mulloy, Yunior Santiago

WADJDA
DIRECTOR: Haifaa Al Mansour
PRODUCERS: Gerhard Meixner, Roman Paul

 

JOHN CASSAVETES AWARD
(Award given to the best feature made for under $500,000; award given to the writer, director, and producer)
* Executive Producers are not listed.

COMPUTER CHESS
WRITER/DIRECTOR: Andrew Bujalski
PRODUCERS: Houston King, Alex Lipschultz

CRYSTAL FAIRY
WRITER/DIRECTOR: Sebastián Silva
PRODUCERS: Juan de Dios Larraín, Pablo Larraín

MUSEUM HOURS
WRITER/DIRECTOR/PRODUCER: Jem Cohen
PRODUCERS: Paolo Calamita, Gabriele Kranzelbinder

PIT STOP
WRITER/DIRECTOR: Yen Tan
WRITER: David Lowery
PRODUCERS: Jonathan Duffy, James M. Johnston, Eric Steele, Kelly Williams

THIS IS MARTIN BONNER
WRITER/DIRECTOR: Chad Hartigan
PRODUCER: Cherie Saulter

 

BEST DIRECTOR

SHANE CARRUTH – Upstream Color

J.C. CHANDOR – All Is Lost

STEVE McQUEEN -12 Years A Slave

JEFF NICHOLS – Mud

ALEXANDER PAYNE – Nebraska

 

BEST SCREENPLAY

WOODY ALLEN – Blue Jasmine

JULIE DELPY, ETHAN HAWKE, RICHARD LINKLATER – Before Midnight

NICOLE HOLOFCENER –Enough Said

SCOTT NEUSTADTER & MICHAEL H. WEBER – The Spectacular Now

JOHN RIDLEY – 12 Years A Slave

 

BEST FIRST SCREENPLAY

LAKE BELL – In A World

JOSEPH GORDON-LEVITT – Don Jon

BOB NELSON – Nebraska

JILL SOLOWAY – Afternoon Delight

MICHAEL STARRBURY – The Inevitable Defeat of Mister and Pete

 

BEST CINEMATOGRAPHY

SEAN BOBBITT – 12 Years A Slave

BENOIT DEBIE – Spring Breakers

BRUNO DELBONNEL – Inside Llewyn Davis

FRANK G. DEMARCO – All Is Lost

MATTHIAS GRUNSKY – Computer Chess

 

BEST EDITING

SHANE CARRUTH, DAVID LOWERY -Upstream Color

JEM COHEN, MARC VIVES – Museum Hours

JENNIFER LAME – Frances Ha

CINDY LEE – Una Noche

NAT SANDERS – Short Term 12

 

BEST MALE LEAD

BRUCE DERN -Nebraska

CHIWETEL EJIOFOR – 12 Years A Slave

OSCAR ISAAC – Inside Llewyn Davis

MICHAEL B. JORDAN –Fruitvale Station

MATTHEW McCONAUGHEY – Dallas Buyers Club

ROBERT REDFORD – All Is Lost

 

BEST FEMALE LEAD

CATE BLANCHETT – Blue Jasmine

JULIE DELPY – Before Midnight

GABY HOFFMANN –Crystal Fairy

BRIE LARSON – Short Term 12

SHAILENE WOODLEY – The Spectacular Now

 

BEST SUPPORTING MALE

MICHAEL FASSBENDER – 12 Years A Slave

WILL FORTE –Nebraska

JAMES GANDOLFINI – Enough Said

JARED LETO – Dallas Buyers Club

KEITH STANFIELD – Short Term 12

 

BEST SUPPORTING FEMALE

MELONIE DIAZ – Fruitvale Station

SALLY HAWKINS – Blue Jasmine

LUPITA NYONG’O –12 Years A Slave

YOLONDA ROSS – Go For Sisters

JUNE SQUIBB – Nebraska

 

BEST INTERNATIONAL FILM

A TOUCH OF SIN (China)
DIRECTOR: Jia Zhang-Ke

BLUE IS THE WARMEST COLOR (France)
DIRECTOR: Abdellatif Kechiche

GLORIA (Chile)
DIRECTOR: Sebastián Lelio

THE GREAT BEAUTY (Italy)
DIRECTOR: Paola Sorrentino

THE HUNT (Denmark)
DIRECTOR: Thomas Vinterberg

 

BEST DOCUMENTARY
(Award given to the director and producer)

20 FEET FROM STARDOM
DIRECTOR/PRODUCER: Morgan Neville
PRODUCERS: Gil Friesen, Caitrin Rogers

AFTER TILLER
DIRECTORS/PRODUCERS: Martha Shane and Lana Wilson

GIDEON’S ARMY
DIRECTOR/PRODUCER: Dawn Porter
PRODUCER: Julie Goldman

THE ACT OF KILLING
DIRECTOR/PRODUCER: Joshua Oppenheimer
PRODUCERS: Joram Ten Brink, Christine Cynn, Anne Köhncke, Signe Byrge Sørensen, Michael Uwemedimo

THE SQUARE
DIRECTOR: Jehane Noujaim
PRODUCER: Karim Amer

ROBERT ALTMAN AWARD
(Award given to one film’s director, casting director, and its ensemble cast)

MUD
DIRECTOR: Jeff Nichols
CASTING DIRECTOR: Francine Maisler
ENSEMBLE CAST: Joe Don Baker, Jacob Lofland, Matthew McConaughey, Ray McKinnon, Sarah Paulson, Michael Shannon, Sam Shepard, Tye Sheridan, Paul Sparks, Bonnie Sturdivant, Reese Witherspoon

 

17th ANNUAL PIAGET PRODUCERS AWARD
The 17th annual Producers Award, sponsored by Piaget, honors emerging producers who, despite highly limited resources demonstrate the creativity, tenacity, and vision required to produce quality, independent films.  The award includes a $25,000 unrestricted grant funded by Piaget.

TOBY HALBROOKS & JAMES M. JOHNSTON

JACOB JAFFKE

ANDREA ROA

FREDERICK THORNTON

 


20th ANNUAL SOMEONE TO WATCH AWARD
The 20th annual Someone to Watch Award recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition.

AARON DOUGLAS JOHNSTON, director of MY SISTER’S QUINCEAÑERA

SHAKA KING, director of NEWLYWEEDS

MADELINE OLNEK, director of THE FOXY MERKINS

 

19th ANNUAL STELLA ARTOIS TRUER THAN FICTION AWARD
The 19th annual Truer Than Fiction Award, sponsored by Stella Artois, is presented to an emerging director of non-fiction features who has not yet received significant recognition.  The award includes a $25,000 unrestricted grant.

KALYANEE MAM, director of A RIVER CHANGES COURSE

JASON OSDER, director of LET THE FIRE BURN

STEPHANIE SPRAY & PACHO VALEZ, directors of MANAKAMANA

News from “Mandela” Premiere: New U2 Album Coming in March 2014 (See Bono Video Here)

Roger Friedman
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News from “Mandela” Premiere: New U2 Album Coming in March 2014 (See Bono Video Here)

The new U2 album is on its way. I told you a few weeks ago that the album would make the first quarter of 2014, that the video work had commenced as well as the marketing materials. Now comes “Ordinary Love,” the first single, written for the soundtrack of “Mandela: Long Walk to Freedom” which premiered last night at the Ziegfeld.

I hung out on the red carpet with U2’s two managers, the famed and brilliant Paul McGuinness who’s been with U2 since Day 1, and Guy Oseary, who’s coming in to work with Paul after his tireless guidance of Madonna over the years.

No, Guy told me, there will be no Madonna-U2 duet on the new album.

Paul did tell me that the album will come in March, maybe right after the group wins an Oscar for their “Mandela” song. They should.

Milling about with us on the red carpet: Oscar buzzed “Mandela” stars Idris Elba and Noamie Harris, plus Vogue editor Anna Wintour, who co-hosted the screening. No sunglasses, no aides or assistants running about. No Devil Wears Prada. Anna and McGuinness have been friends for literally eons. She was very comfortable.

Also on hand: the great beauty Iman, without David Bowie, very low key also.

Harvey Weinstein is passionate about “Mandela,” Justin Chadwick’s comphrensive and absorbing take on the life of a historic, great leader. Harvey introduced the film and the filmmakers and Bono, who himself was introduced by Nelson Mandela’s daughter, Zenani. She sang his praises.

Keep an eye on “Mandela,” especially Idris Elba and Noamie Harris. They are very much in the Oscar game. Elba is kind of a rock star because of his TV work in the UK. He is a towering presence as Nelson Mandela. SAG voters in particular are loving his performance.

Randy Phillips Survives Michael Jackson Saga, Leaves AEG For Greener Pastures

Roger Friedman
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Randy Phillips Survives Michael Jackson Saga, Leaves AEG For Greener Pastures

When Randy Phillips got the idea to bring Michael Jackson back to his fans he never would have guessed it would end this way: Michael is dead, and Phillips has been “exited” — in corporate speak– from his job as founding chief of AEG Live. Yesterday the company announced simply that Phillips was gone, and there was a new corporate hierarchy to replace him. It wasn’t very gracious, but that’s corporate America.

Phillips started AEGLive in 2002 and put it on the map. He and Tim Leiweke — who left last March — literally created AEG to compete with what became Live Nation (formerly Clear Channel Entertainment). They made the O2 Arena outside of London their beach head. Among their triumphs was the actual Led Zeppelin reunion in memory of Ahmet Ertegun.

Under Leiweke and Phillips, the whole L.A. Live center in downtown Los Angeles blossomed. What was a wasteland is now a thriving culture center in a city where culture is usually mentioned in conjunction with strep throat. In New York AEG set up shop with the Nokia Theater in Times Square.

It was at the Ertegun concert that Randy told me he’d made an offer to Michael Jackson to do 10 shows at the Arena. The offer was rejected. But a year later Michael’s finances were in worse shape than ever. The offer was re-examined. The deal was made. Phillips never conceived of the depth or range of Michael’s problems. On the car ride to the O2 Arena, Jackson was literally a mess. And things went downhill from there.

There were plenty of successes, big tours, and even the triumph of the Jackson documentary “This Is It.” From Paul McCartney to Justin Bieber, AEG held its own with behemoth Live Nation. Phillips leaves a well-armed organization for popular Jay Marciano, the guy he brought in from Madison Square Garden hand picked. Maybe Phillips will get back into management, where he was a rock star. His first client could be Lady Gaga. If anyone could straighten out that mess, it’s Randy.

 

Oscars: “American Hustle” Screens, and Some Awards Questions Are Answered

Roger Friedman
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Oscars: “American Hustle” Screens, and Some Awards Questions Are Answered

I’ve just gotten back from a long day of movie marathons concerning the Oscars. The biggest deal was the first screening of David O. Russell’s “American Hustle.” We’re not supposed to ‘review’ it until next week. But the voting for various awards, and drawing up of lists is upon us. So this isn’t a review. Just some observations.

Russell has taken his two best films, “The Fighter” and “Silver Linings Playbook,” mixed them in a Cuisinart and added a touch of Scorsese. There’s also a slight hint of “Argo.” But really, he’s made a great movie. All four of his principle actors are superb. But I dare say that Amy Adams is the consistent standout and a definite Best Actress nominee. She’s a knockout. So is Christian Bale, who joins a long list of potential Best Actor nominees.

The irony is that Bradley Cooper and Jennifer Lawrence, leads from “Silver Linings” and Oscar nominees (she won) return here in supporting roles. They’re big supporting roles–almost leads. They each deserve their own nominations. I don’t get how Jennifer Lawrence is doing what she does. She’s what, 23? She ‘gets it.’ She ‘gets’ everything. She’s playing older here, from the 1970s, and still she nails it in the most disarming ways. Is she reincarnated? Is she channeling someone? Throw this in with “Catching Fire,” and you’ve really got a situation here. Imagine what she’ll be like at 30!

“American Hustle” is one of 17 (by my count) possible Best Picture nominees. There are only 10 slots. I’d have to think it goes in the top 10. You know it’s good from the get go because they use the Columbia Pictures logo from the ’70s right at the start. Plus, the music is phenomenal. It’s all ’70s hits. There’s one sequence with Lawrence involving “Live and Let Die” that’s just LOL brilliant.

“American Hustle” is a so called big film. I do think we’re in danger of losing the ‘little’ films from the top 10. We need a second Oscar night! All the ‘big’ films have to be nominated: 12 Years a Slave, Gravity, The Butler, August Osage County, American Hustle, Lone Survivor, Saving Mr Banks, Captain Phillips. Then maybe comes Nebraska. That’s 9. One more? “Wolf of Wall Street” remains a question mark.

By the way there are some game changer smaller roles in “American Hustle” for the performers. Alessandro Nivola in particular stands out as an ambitious prosecutor. Elisabeth Rohm, from “Law & Order,” is a revelation. More next week…

Bruce Springsteen: New Single, Video, Album “High Hopes”

Roger Friedman
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Bruce Springsteen: New Single, Video, Album “High Hopes”

Bruce Springsteen has a new single and video out today called “High Hopes.” The album is out January 14th. It includes the cover of Suicide’s Dream Baby Dream which Bruce played at a fundraiser earlier this month. The album has a lot of Tom Morello playing guitar. The sound is a little different from Steve van Zandt, who was tied up at the time with his own projects.

The track listing for High Hopes is as follows:

1. High Hopes
2. Harry’s Place
3. American Skin (41 Shots)
4. Just Like Fire Would
5. Down In The Hole
6. Heaven’s Wall
7. Frankie Fell In Love
8. This Is Your Sword
9. Hunter Of Invisible Game
10. The Ghost of Tom Joad
11. The Wall
12. Dream Baby Dream

Read Springsteen’s unedited liner notes below:

I was working on a record of some of our best unreleased material from the past decade when Tom Morello (sitting in for Steve during the Australian leg of our tour) suggested we ought to add “High Hopes” to our live set. I had cut “High Hopes,” a song by Tim Scott McConnell of the LA based Havalinas, in the 90’s. We worked it up in our Aussie rehearsals and Tom then proceeded to burn the house down with it. We re-cut it mid tour at Studios 301 in Sydney along with “Just Like Fire Would,” a song from one of my favorite early Australian punk bands, The Saints (check out “I’m Stranded”). Tom and his guitar became my muse, pushing the rest of this project to another level. Thanks for the inspiration Tom.

Some of these songs, “American Skin” and “Ghost of Tom Joad,” you’ll be familiar with from our live versions. I felt they were among the best of my writing and deserved a proper studio recording. “The Wall” is something I’d played on stage a few times and remains very close to my heart. The title and idea were Joe Grushecky’s, then the song appeared after Patti and I made a visit to the Vietnam Veterans Memorial in Washington. It was inspired by my memories of Walter Cichon. Walter was one of the great early Jersey Shore rockers, who along with his brother Ray (one of my early guitar mentors) led the “Motifs”. The Motifs were a local rock band who were always a head above everybody else. Raw, sexy and rebellious, they were the heroes you aspired to be. But these were heroes you could touch, speak to, and go to with your musical inquiries. Cool, but always accessible, they were an inspiration to me, and many young working musicians in 1960’s central New Jersey. Though my character in “The Wall” is a Marine, Walter was actually in the Army, A Company, 3rd Battalion, 8th Infantry. He was the first person I ever stood in the presence of who was filled with the mystique of the true rock star. Walter went missing in action in Vietnam in March 1968. He still performs somewhat regularly in my mind, the way he stood, dressed, held the tambourine, the casual cool, the freeness. The man who by his attitude, his walk said “you can defy all this, all of what’s here, all of what you’ve been taught, taught to fear, to love and you’ll still be alright.” His was a terrible loss to us, his loved ones and the local music scene. I still miss him.

This is music I always felt needed to be released. From the gangsters of “Harry’s Place,” the ill-prepared roomies on “Frankie Fell In Love” (shades of Steve and I bumming together in our Asbury Park apartment) the travelers in the wasteland of “Hunter Of Invisible Game,” to the soldier and his visiting friend in “The Wall”, I felt they all deserved a home and a hearing. Hope you enjoy it,

Bruce Springsteen

“General Hospital” — Resuscitated– May Hit 3 Million Viewers This Week

Roger Friedman
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“General Hospital” — Resuscitated– May Hit 3 Million Viewers This Week

Soaps are booming. Three years ago, ABC and CBS each killed two long running shows because they said the genre was dead. ABC was getting ready to pull the plug on “General Hospital.” But last week “GH” scored 2,979,000 total viewers, the most people watching the show since Ronald Reagan was president.

This week, “GH” will cross the 3 million mark– most likely this afternoon when a continuation of  a major cliffhanger will continue and play out for the next three days. Wherever former ABC Daytime chief Brian Frons is, he must be choking on a turkey bone.

No, soaps don’t make sense. They don’t obey any rules of consistency or logic. It’s daytime and nighttime in the same segment. Legal and medical “facts” are simply created. I saw two minutes of a courtroom scene on “GH” last week and did a spit-take it was so hilarious. Brian surgery patients keep their hair and wear Bandaids post-op.

But no one cares. It’s all in good fun. And it’s a relief from the reality crap on MTV and Bravo. My favorite thing about “General Hospital” is that they’ve named the local mental hospital “Miscavige Clinic” after the controversial head of Scientology in real life, David Miscavige. It seems like a signal to a couple of Scientologist actors (in soaps, not Tom Cruise obviously) that they’re not welcome in Port Charles.

ABC is in the middle of crazy lawsuits with Prospect Park over the licensing of their cancelled soaps. But soaps may be what ABC needs when Katie Couric exits later this year from her talk show.

Monty Python Reunion Now 5 Shows (Remember My 100 Show Scoop, Kids)

Roger Friedman
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Monty Python Reunion Now 5 Shows (Remember My 100 Show Scoop, Kids)

The Monty Python reunion has been extended to five shows from its original one. Please do remember my scoop about 100 shows all over the world. One Python expert told me: “They will never do it.” Oh yeah? I told you that the Pythons are in it to win it. They need money. They brought in manager Jim Beach (another exclusive) to organize this thing into a moneymaker.

Now the Pythons will do shows July 1-5 at the O2 Arena. So far. The first show sold out in a millisecond. If these go as well– and they will because ticket brokers snap up chunks by computer programme (I thought I’d spell it that way for fun) before you can ask about a dead parrot on someone’s head– there will be five more shows. And then one show each in New York and Los Angeles.

You never expected the Spanish Inquisition? Well, you were wrong. The Pythons are coming. It won’t something completely different. But it will be a lot of fun. AEG Live now seems firmly in charge.

“X Men” on Broadway: Ian McKellen, Patrick Stewart Score a Huge Success in Pair of Plays

Roger Friedman
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“X Men” on Broadway: Ian McKellen, Patrick Stewart Score a Huge Success in Pair of Plays

Liv Tyler and Orlando Bloom (Arwen, and Legolas Greenleaf to you) came to celebrate Gandalf. Others came to cheer on the “X Men.” But everyone at yesterday’s and last night’s double Broadway bill of Sir Ian McKellen and Sir Patrick Stewart got the thrill of a lifetime and the best that theater can offer. The two actors, along with Billy Crudup and Shuler Hensley, star in Harold Pinter’s “No Man’s Land” and Samuel Beckett’s “Waiting for Godot.” Let’s skip to the end of the story first: rave reviews in the New York Times.

You can see them separately or together, but I recommend the two plays in a day. They have a lot to do with each other thematically. It’s also an exhilarating experience to see these four brilliant talents put on the plays. Not only them– but the lighting (Tony winner Peter Kaczorowski in his 50th and 51st Broadway openings), set design, costumes– all of it is exceptional. Sean Mathias directed both plays. I can tell you it’s amazing to leave “No Man’s Land” with its vault like clubby set and return two hours later to outdoor rubble of “Godot.” And please, let’s pronounce it correctly– GOD-oh.

Mathias has made the two plays into existential comedies with touches of Charlie Chaplin. The actors are up to the task, particularly Crudup and Hensley in “Godot.” But throughout the two plays, it’s Sir Ian and Sir Patrick who are just peas in a pod, good pals who turn their respective relationships in each play into magic. You can’t get enough of them.

Some others in the audience and at the party following at the Bryant Park Grill: Mickey Sumner, Alan Cumming, Richard Kind, Dan Stevens (Matthew from “Downton Abbey”), Joseph Cross, Nathan Lane, our favorite rocker Patti Smith, Luke Evans and the amazing Tony winner/Oscar nominee Janet McTeer, who drove down from Maine with husband Joe Coleman just catch this unique day of theater.

At the party, both Sirs Ian and Patrick asked me the same question when I told them I’d say through the two plays: “Are you exhausted?” To which I replied, “Aren’t you? You were in them.” They were not, because, you know, they’re X Men.

Michael Jackson’s Dr. Murray Kills Him Again

Roger Friedman
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31
Michael Jackson’s Dr. Murray Kills Him Again

Conrad Murray isn’t happy to have killed Michael Jackson once. He had to do it again. The recently sprung from jail Murray has given an interview to the Mail of London, undoubtedly for some remuneration, in which he trashes Jackson again and describes himself as a hero. It’s shameful, of course. But I doubt any U.S. publisher would have caved in for this crap.

Among other things, Murray paints Jackson as an invalid, a sad, quivering incontinent mess who would have not have survived as long as he did without the doctor’s help. Murray talks about putting a condom on Jackson’s penis for a catheter because he was incontinent, that Michael could only wear dark colored pants because he “dripped.”

The biggest drip is Murray. He claims that Jackson injected himself with the fatal dose of propofol, and that essentially he killed himself. Murray also claims no knowledge of Jackson’s dependency on pharmaceutical drugs including Demerol. He reminds me of Franz Liebkind, from “The Producers,” who tells Bialystock and Bloom re Hitler and the Nazis that he knew nothing: “War? What war? Ve vuz in the back!”

Murray won’t get this open door treatment in America. No one wants to hear from him. No one.

One other thing: Murray now says he bonded with Michael because they had each terrible fathers. Well, Murray never addresses the real story of his own father, who was a doctor, and how he got in trouble for similar problems: http://www.showbiz411.com/2011/09/29/conrad-murrays-bad-doctoring-like-father-like-son

Box Office Update: “Hunger Games: Catching Fire” $161.1 Mil Opening Weekend

Roger Friedman
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0
Box Office Update: “Hunger Games: Catching Fire” $161.1 Mil Opening Weekend

Box office Sunday update: Lions Gate is telling Boxofficemojo.com that “Catching Fire” did $161.1 mil for the weekend. This will probably be revised down by Monday. This makes “Catching Fire” the 4th biggest opening weekend ever. If the numbers change, it will affect the standings of the two movies that come right after it– “The Dark Knight” and “The Dark Knight Rises.”

Saturday morning: “The Hunger Games: Catching Fire” caught fire Thursday and Friday. The combined total of midnight showings Thursday and all day yesterday was a whopping $70.5 million. That’s pretty damn good. The first movie did $67,263,650 on its opening night, if that gives you an idea. Can “Catching Fire” set a record? That will depend on word of mouth and tonight’s showing. Right now, $70.5 is the 7th biggest opening night of all time. It pushes the original “Hunger Games” to number 11. The first six are “Harry Potter and Deathly Hallows, Pt 2,” “The Avengers,” “Dark Knight Rises,” and three “Twilight” movies.

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