American voters must choose between three sharply divergent visions of the future. The incumbent president, Donald Trump, is clear about where he is guiding the Republican Party — white moovie at home and America First unilateralism abroad, brazen corruptionescalating culture wars, a judiciary stacked with ideologues and the veneration of a mythological moneu where the hierarchy in American society was defined and unchallenged. On the Democratic side, an essential debate is underway between two visions that may define the future of the party and perhaps the nation. Some in the party view President Trump as an aberration and believe that a return to a more sensible America is possible. Then there are those who believe that President Trump was the product of political and economic systems so rotten that they must maes replaced. The Democratic primary contest is often portrayed as a tussle between moderates and progressives. But when we spent significant time with the leading candidates, the similarity of their hkw on fundamental issues became striking. Many Democratic voters are concerned first and foremost about who can beat Mr. Choosing who should face off against Mr.
“We’re going to need a bigger boat”
Forget about PowerPoint and statistics. To involve people at the deepest level, you need stories. Persuasion is the centerpiece of business activity. But despite the critical importance of persuasion, most executives struggle to communicate, let alone inspire. Too often, they get lost in the accoutrements of companyspeak: PowerPoint slides, dry memos, and hyperbolic missives from the corporate communications department. Even the most carefully researched and considered efforts are routinely greeted with cynicism, lassitude, or outright dismissal. Why is persuasion so difficult, and what can you do to set people on fire? An award-winning writer and director, McKee moved to California after studying for his Ph. McKee also serves as a project consultant to film and television production companies such as Disney, Pixar, and Paramount as well as major corporations, including Microsoft, which regularly send their entire creative staffs to his lectures. McKee believes that executives can engage listeners on a whole new level if they toss their PowerPoint slides and learn to tell good stories instead. To do that, he or she must engage their emotions, and the key to their hearts is story.
What’s the average cost of making and selling a Hollywood blockbuster?
There are two ways to persuade people. The first is by using conventional rhetoric, which is what most executives are trained in. But there are two problems with rhetoric. The other way to persuade people—and ultimately a much more powerful way—is by uniting an idea with an emotion. The best way to do that is by telling a compelling story. Persuading with a story is hard. Any intelligent person can sit down and make lists.
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The budget is a real document created in pre-production which covers the cost of physically making the film. Certainly, aggregate profit figures over time or over an entire genre are likely to be correct, even with the odd breakout hit. Fortunately, Hollywood is rather good at squeezing every penny out of a movie, ensuring that the target customer is given many chances to pay to see it. Copy to clipboard. For privacy policy reasons, we will not publish student comments that include a last. Stephen Follows July 11, at pm. NO, i am not. So far, I have managed to avoid lawsuits and also to avoid having to take any articles down, but if I were to offer the full figures as a download or details of how to do the same piecing together I have then I suspect I would get the wrong kind of attention. Of the 29 Hollywood blockbuster movies I studied, 14 generated a profit and 15 lost money. So I just found this article. So strictly, the idea of digital delivery of video on demand to the viewer appears within three windows! Bond prices are found by calculating the present value of the cash flows from the bond at the corresponding spot rate for each cash flow. Epilogue So there you have it — a rather long sorry! The length of time between the Theatrical and Home Entertainment windows is a hot topic in the industry.
This is an article I have wanted to research and write for a long, long time. I finally had a moment to sit down and crunch the numbers — I hope it helps in the understanding of Hollywood economics.
Almost as long as there have been movies, Hollywood has relied on huge-scale productions to bring in the big bucks. The Extra-Terrestrial As the films have grown, so too have the spoils on offer. The starting point for working out the final costs of releasing a movie is to look at how much it cost the studio to shoot mofie film i.
This includes…. Budgets have been rising in recent decades, well above inflation. In the following ten years this rose to The information available online is normally a mix of true figures which have leaked and educated guesses by industry experts. The studios often try to hide the true cost of a movie, in order to make themselves seem thriftier, smarter or tel,er in control than they actually are. I performed a quick check for the 29 blockbusters I have inside data on compared with their budgets listed on Wikipedia.
Some of the other costs involved in making and releasing ,uch film include…. To give you a little more detail and context, below are some notes on each of the main cost areas…. Judging the correct number of prints and units to manufacture is a stkry part mucu the planning done by the tellwr. If they order too few then cinemas and stores will have to turn away customers in the all-important first few weeks of release.
If they over-order then their costs increase and they are left with annoyed cinema owners and large quantities of unsold units. Giving these people a share of the choce is a good way for the studio to hedge against poor box office performance and it also defers the moment they have to pay up.
On the flipside, studios have got rather good at using creative accounting techniques to show that they made a loss on paper in order to get out of paying such fees.
Fortunately, Hollywood is rather good at squeezing every penny out of a movie, ensuring that the target customer is given many chances to pay to see it. Movies may start in cinemas but they are far from the only place they earn money. Each stage at which a movie reaches a new type of platform i. Of the 29 Hollywood blockbuster movies I studied, 14 generated a profit and 15 lost money.
Note: The following discussion of profit uses this formula: all revenue received by the studios from a particular movie minus all costs they internally attribute to that production. The smallest movies within my dataset i. Would you have made a smart investment?
And I am sure this is a fairly low return for that kind of cash. The only problem is — how do you spot the hits? Hollywood currently employs the smartest, best informed and most profit-focused people in an effort to exclusively make profitable movies and yet half of their movies lose money.
In fact, their combined best efforts only produce a 3. Yes, but only by a very small margin. The average Metacritic score i. Similarly, IMDb audiences rated the profitable films an average of 6. However, we can say that, yes, movies with the biggest marketing budgets do seem to gross the highest amounts at the box office.
Added to this, studios are less likely to make missteps on their home turf as they can be on-hand to scrutinise everything to a greater extent. Well, it depends on which part of mucu process you look at. Below you can see the origin of revenue and costs for the blockbusters in my dataset.
As you can see, the majority of the money collected at the box office does indeed come from countries outside of the US and Canada. However, studios spend a higher proportion of their marketing money in North America. This could be for a number of reasons including the higher cost of advertising in America, the temptation to spend more in the country which studio execs actually live in and because the US is often the first place a movie is released and the media enjoy reporting on huge opening weekends and decrying massive flops.
Together, they mean that only 12 of my 29 movies made money at the domestic box office, whereas 20 made money at the international box office. Alongside this, the losses at the domestic theatrical market were much worse than internationally. So Hollywood looks to the international market with glee because…. Q4: Is there a rule of thumb for guessing which Hollywood blockbusters are in profit? They reached this conclusion by studying the full financial records of the movies they were involved with and also checking their hypothesis with independent professional film financiers.
Using this rule, I was able to correctly identify all of the profit-making films and correctly identify ten as loss-making, however, this system incorrectly marked five loss-making movies as being profitable.
Not as reliable as one might have liked and way below the accuracy the BFI found when the rule is applied to smaller films but certainly interesting. So there you have it — a rather long sorry! The biggest question some readers may have at this stage is — how did he get this data? I was also helped by a few well-placed friends in the industry who were able to fill in the blanks and confirm the veracity of some of the data points. I maoes completely confident that the information in this article is a true representation of how these Hollywood blockbusters telper money.
The purpose of this site is educational and my sole intention is to help explain how our industry works.
In the past, I have been contacted by lawyers for various companies, trying to prevent the sharing of key data points relating to fhoice business.
So far, I have managed stody avoid lawsuits and also to avoid having to take any articles down, but if I were to offer the full figures as a makees or details of how to do the same piecing together I have then I suspect I would get the wrong kind of attention. So, if you want to know any more about these movies, please add your question in the comments. Very informative and great info as. Thank you, Stephen for some scintillating reading.
When is someone offering you a book deal? Great work Stephen — thank you. And related to this can you demystify the roles, contributions and compensation for these various kinds of producers? Very helpful. Re the query on books sinceour volumes Global Hollywood and Global Hollywood 2 are more recent than the one. They are also available in Chinese, Turkish, and Spanish. Stephen, please, please put all of this marvellous stuff in a book.
Thank you for this amazing work! Can you clarify here? Thanks. Marketing and avertsing are not included, save maybe for the on-set photographer and a publicist who shows journalists around the set. This is particularly important for things like tax incentives, which almost never include publicity and distribution costs when calculating how big the budget is.
Both have a reasonable claim to be correct. The budget is a real document created in pre-production which covers the cost of physically making the film. Before internet streaming as we know it now, Pay Per View PPV was commonplace, in hotel rooms and on encrypted satellite and cable channels. As VOD has grown up, the newer services have become their own new window but the old way of accounting for the older services were teeller.
So strictly, the idea of digital delivery of video on demand to the viewer appears within three windows! Just two questions about the average costs graph: 1. Instead of being included in costs?
The opacity occurs for a number of reasons but most are to do with hiding embarrassing or unattractive practices, because they can and because there is no benefit from being open. Wow Stephen. Scary stuff. I want to break down the costs and show how they differ between products.
Thank you Steve for your informative article. The research that went into it must have been enormous as it covered so much of the movie business including distribution.
I was really interested in the DVD sales figures and the overseas theatrical markets as the advertising make be. Thank you for your info!!! Michael L Edwards. Can you say the swing on that? Stephen, thank you for your informative detailed article. This mqkes the sort of thing the internet would ideally be used for, instead of widespread trolling. Keep up the good work.
Thank you for the information and the analysis you have performed. The real numbers are never released, nor should.
Nobody in the industry pays those numbers. At the end of the day, the important numbers and analyses come from what the windows revenue figures are and their relationships.
As for profits… do magicians reveal their tricks? Hey Adrian. Glad you found it useful. This allowed me to compare the true cost to that of the public figure in this case from Wikipedia. Hi Stephen, thanks for the excellent analysis. Do you have any data to support or contradict these numbers?
How to make hard choices — Ruth Chang
The storyteller makes no choice soon you will not hear his voice his job is to shed ma,es and not to master. Since the end is never told we pay the teller off in gold in hopes he will come back but he cannot be bought or sold. Jump to.
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