VIDEOS & BOOKS
Official production protocols and safety guidelines relating to COVID-19 are being released by countries, states and organizations. To help keep track of the latest information across the globe, we are updating this page with relevant information as it becomes available.
Seeing a film in a theater is still regarded as the best way to experience the art form. It is also the goal of most filmmakers. To see if there are trends that can guide decision-making, including genre and preexisting IP, we looked at the distribution of all US produced narrative feature films that were shot in 2017.
Those looking to create films in the Family genre need to focus on how their audience will perceive their work. Not just with lack of negative content but with the inclusion of family themes such as roles models, religious messages and, of course, dogs.
We crunched the numbers on horror films budgeted between $500,000 and $5 million that were released in North America between 2000 and 2016. Our data, statistics and modelling resulted in five important takeaways on the horror genre.
To find out the answer, we looked at 3,715 feature films released in US cinemas from 2000 to 2015 and analyzed the correlation between profitability and the views of film critics. The results were enlightening.
The first step in understanding what a film or project is worth is knowing its “relative” value. That is, how does its genre perform in each territory relative to the global average? See our full analysis of six key genres across the top 11 territories.
Grab a cup of tea – this is a long one. It’s rare for filmmakers to get a candid look at the books of someone else’s film but, thanks to the generosity of Marcus Markou, that’s exactly what you’ll get.
Producers are struggling with the lack of transparency in the new distribution landscape. It is quite difficult to see how a film has performed in Video on Demand and there has been no significant analysis into what films are best suited to these new distribution streams. Until now.
It happens more often than you might think—a writer with a promising project makes a mistake in the room and “ breaks the deal”. Although you may already avoid most of these mistakes, one or two might be a wake-up call. Is it possible that you sabotaged yourself and broke a deal in any of these ways?
When agents read scripts, they think “How am I going to sell this?” The way they answer that question may influence your choices when writing your screenplay. So if you want to know how to get a screenwriting agent, consider these seven factors.