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Truly Free Film

Nobody Knows Anything #8: Casting, Celebrities, and Archetype Theory

By Charles Peirce 

Nobody8-300Casting 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.

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Truly Free Film

Nobody Knows Anything #4: Rethinking Franchises and Sequels

By Charles Peirce

OldBatmanv4It would seem, to the eyes of Hollywood, the high form of film has become the franchise. It satisfies the two poles of conventional business wisdom: limiting risk as it promises more of the same, maximizing profit as it entices investors with that self-same prospect.[1] The Hobbit is stretched out to encompass three movies, hordes of young adult novels are on the horizon, and Bob Iger suggests Frozen will now be a franchise after its huge success, but it’s hard to imagine that wasn’t always the plan. Strangely, though, two of the pioneers of the form, George Lucas and Steven Spielberg, both predict doom for what they helped create. And the recent failure of The Lone Ranger (and John Carter before that) suggest they might just be right.

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Truly Free Film

Nobody Knows Anything #3: What Makes A Film Successful?

By Charles Peirce  

Nobody3-300There’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.

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Truly Free Film

Nobody Knows Anything #1: Marketing and the Collective Unconscious

By Charles Peirce

Nobody1-300In Adventures in the Screentrade, William Goldman famously opined that “nobody knows anything” in Hollywood, a curious concession for a man with such a marked record of success. The truth, though, is that Hollywood has always known something — its very business centered not just on creating hits but also on predicting future ones.

Originally the Studio System developed a series of principals which, if not always guaranteeing success, at least mitigated against disaster. That legacy persists today, albiet more loosely: in coverage, screenwriting structure, and the identifying of a film with its stars. The rise of the blockbuster didn’t undo the Studio System legacy, but it did change the metrics of success — once the end product becomes less bodies in seats and more associated merchandise, the thinking on what makes a good movie changes significantly. New aims call for new methods, and Hollywood has evolved its strategies with the times.