By Charles Peirce
Casting is one of the obvious essentials of any film, and like all aspects of the process worth examining: the assumptions that define it and the possibilities of how it might be used to best advantage. Casting’s key place comes in financing, where attaching the right star allows raising money based on their monetary value to specific regions or demographics. Enough attached stars offer the promise of pre-sales in distribution, and enough pre-sales can then determine a base budget. This would seem to follow the simple logic of a star’s popularity guaranteeing viewers, a shortcut in the task of finding an audience.
As I alluded to in a 
There’s a certain watercooler betting-pool mentality that accompanies the box office results of movies, as though their success were completely encapsulated in a single opening weekend’s results. This despite the fact that everybody knows Hollywood accounting is particularly slippery, that budgets never reveal the accompanying marketing costs of films, that foreign market revenue is increasingly important to the success of many films, and that ancillarly sales can be a primary rather than secondary revenue stream. Nonetheless, we seem to equate box office numbers with whether a film worked, whether it’s worth anyone’s time, and whether it’s going to ruin somebody’s career or save it. 