Green Lighting Movie Scripts: Revenue Forecasting and Risk Management

Written By: Jonathan Rayos | Category: News | Comments : 0 comments

Plenty of movie fans think Hollywood fare has become too rote.

Now, some professors at U Penn’s Wharton School and NYU’s Stern School present a case for making it even more formulaic.

In their paper “Green Lighting Movie Scripts: Revenue Forecasting and Risk Management” Jehoshua Eliashberg, Sam K. Hui, and John Zhang show Hollywood how it’s done. Never mind the stars or directors hired— they say it’s possible to predict a movie’s eventual box-office success by simply applying their mathematical formula to the script.

The academics analyzed the scripts of 200 movies released between 1995 and 2006. They coded the scripts for different variables ranging from the percentage of interior scenes to whether they included a strong nemesis.

Their conclusion: the most important variables in predicting box-office performance are whether the film is in the action genre, how conflict builds, and whether the conflict is multidimensional.

They also looked at risk-adjusted return on capital, and conclude that the movies with the best returns are in what they call the family-movie genre, followed by comedy. The worst risk-adjusted returns are on horror movies, the academics say.

“Based on our interactions with industry executives, forecasting and risk management are the two capabilities that are sorely needed in the movie industry in order to transform it from an intuition and experience-based decision making into a more science-based decision making,” Eliashberg, Hui, and Zhang write. “A science-based approach can pay off handsomely.”

Maybe, just maybe, there’s hope for a little less greenlighting of the “Prince of Persias” of the future and a little more like “Toy Story 3.”

Read the white paper : http://w4.stern.nyu.edu/news/docs/hui_scripts_5.6.2010.pdf

“Red Dawn” remake – distribution currently hangs in limbo

Written By: Jonathan Rayos | Category: News | Comments : 0 comments

As with “The Hobbit” films and the Bond movies, the fate of Dan Bradley’s directorial debut, the remake of “Red Dawn” (filmed entirely in the metro-Detroit, MI areas in 2009) currently hangs in limbo, all thanks to MGM’s money woes. Although the film itself has been in production for a while now up North, the current news is that the film’s initial November release date has disappeared in a puff of smoke, and the remake has now been cast into the land of TBA — To Be Announced.

The remake, which stars Chris Hemsworth (currently cast as “Thor” in upcoming Marvel studios movie)as a Middle East war vet who returns home only to discover that the Communist Chinese have teamed up with the Russkies to invade the homeland, recently came under fire by some Chinese media about its portrayal of China as the film’s main villains. That, basically, guarantees that you can forget about China and Hong Kong as potential markets for the film. Of course, considering MGM’s current financial straits, the Chinese is the last thing the film should worry about at the moment.

“Red Dawn” stars a list of notable young actors, including Hemsworth, Adrianne Palicki (recently in “Legion”), Josh Peck, Josh Hutcherson, Isabel Lucas, and Connor Cruise, son of Tom. It also marks the directorial debut of Bradley, who has done second unit work on the “Bourne” films, and word had him bringing the same kind of kinetic shooting style to his remake.

Jonathan C. Rayos

CEO :: Executive Producer

FilmEmerge

International movie audiances changing the landscape of Hollywood

Written By: Jonathan Rayos | Category: News | Comments : 0 comments

:: The rising clout of international audiences is a sea change for Hollywood. Decades ago, a movie’s foreign box office barely registered with studio executives. Now, foreign ticket sales represent nearly 68% of the roughly $32 billion global film market, up from roughly 58% a decade ago, according to Screen Digest Cinema Intelligence Service.

:: The rise of the international box office has as much to do with a shifting global economy as with the evolution of the movie business. For years, Hollywood’s bottom line was propped up by double-digit growth in DVD sales. From 2000 to 2005, for example, home-video sales increased by 91% in the U.S. But during the tough economy of the past two years, home video—which used to account for the bulk of a film’s profits—fell more than 20%, according to Screen Digest U.S. Video Intelligence Service. Dwindling in-theater audiences in North America also have contributed to the shift.

Jonathan C. Rayos

CEO :: Executive Producer

FilmEmerge :: FilmEmerge Productions

www.filmemerge.com

source: wsj.com