Hollywood is way more levelheaded than that cache of electronic communications stolen from Sony Pictures would have us believe. Look beyond all those email tantrums and you find a cold-eyed, analytical approach that seems to serve the studio system surprisingly well. With prudent budgeting, proportionate advertising spends and tough-minded creative choices, all those available revenue streams for film can turn into rivers of gold. Provided you have access to relevant market data. In this end-of-year newsletter, we explain how arming independents with the same level of studio-grade information will go a long way to evening the distorted playing field across all creative classes.
Before a film is judged by an audience it must pass muster with the movie industry gatekeepers, number-crunchers and taste-makers. In this episode, we compare how the business keeps score to our own data-driven evaluation and verification systems. Who has the best finger on the pulse? You decide. With David Jourdan, Patrick Ewald & J. Todd Harris.
As video-on-demand platforms grow in importance so also do the industry cries for greater transparency. Netflix refuses to disclose its viewing figures, preferring to pay flat fees for films it acquires regardless of how they perform on its proliferating platforms. "If we can't get those numbers" warns the producer of The Kids Are Alright in this Filmonomics segment, "then we can't finance movies". With David Jourdan, Patrick Ewald and J. Todd Harris.
Check out our top new and trending members and films for November. Mallory Thompson, Steve Preeg, Tabrez Noorani, Andy Hay, Susan Johnson, Ryan Horrigan, Pierre Lapointe, Derek Kolstad. And films Every Night Fireworks, At Home with Mystic, The Ecstasy of Wilko Johnson, Police Cops, Kothanodi (The River of Fables), Asher, The Freedom Cafe, Danger Close, Bone Walker and One Week in Hollywood.
If you think getting your film financed and then seen is hard, try doing that in a language other than English. The producer behind one of next year's official Oscar submissions for best foreign-language film, Shrihari Sathe, says the trick is to round up a network of advocates around the world to champion your film during production - which is why he uses Slated.