CFI - Cinematic Forecasting and Investment Assurance LLC ™
Investor Opportunities in Motion Picture Profits through Feature Film Box-Office Forecasts / Pre-Production Script Development / Cinematic Archetype Casting / Component Formulation Design / U.S. and Global Market Consulting & Mass Audience Forecasting
THE MYSTERY OF THE UNKNOWN FILMMAKING ERRORS and THE QUADRANT AWARENESS THAT WILL CORRECT THEM
More than three-quarters of the films wide-released in the U.S. lose money at the box office. So how could so many motion picture studios be so persistently and perpetually wrong?
There has to be something UNKNOWN inside the film...something inside it that made audiences so UNCOMFORTABLE they refused to attend. And somehow the audience was UNCOMFORTABLE enough to refuse to encourage their friends to see the movie.
The answer to the question is about component formulations and the opposite patterns of formulations that create the correct organization or formulations of the unknown components inside every movie or TV production.
QUADRANT AWARENESS
All ‘things’ that exist are Objects or Subjects (or a combination of both). And the two opposite ‘ways’ that any of those objects or subjects can exist are… 1. an OBJECTIVE way and 2. the (opposite) SUBJECTIVE way.
The total combinations of these two opposite ‘things’ with their two opposite ‘ways’ they can exist … creates the FOUR existential ‘quadrants’ that form the foundation of everything that can exist (whether it is a known existence or an unknown existence).
Quadrant 1. An objective object with an objective subject (measurable light and measurable sound) Quadrant 2. The subjective object with an objective subject (immeasurable light and measurable sound) Quadrant 3. An objective object with the subjective subject (measurable light and immeasurable sound) Quadrant 4. The subjective object with the subjective subject (immeasurable light and immeasurable sound) In the filmmaking business, the four existential quadrants are these; 1. The Production Craft Component (the Ingredients) and 2. The Screenplay Construction Component (the Recipe) and 3. The Marketability Charisma Component (the Presentation) and 4. The Talent Chemistry Component (the Purchase).
SO… IS THE INDUSTRY LACKING ‘UNDERSTANDING’ of 1. CRAFT or 2. CONSTRUCTION? IS IT JUST LACKING UNDERSTANDING of 3. CHARISMA or 4. CHEMISTRY?
Understanding is itself derived through “the comparative scientific analysis of pattern recognition with current and historically objective, measurable, data”. But for the most part, the film business has had anything but that. The film business has for the majority of its operations been a hugely subjective business – and therein lies the error. Without a way to objectively measure creation of product, you can’t expect to remain successful in business. (And therein is why the turnover of executives and one-shot production companies in the biz is notoriously rampant.) IF… A. The director was a skilled veteran, and the cinematographer has been a master for years, and the writer was a Pulitzer Prize and Academy Award winner many times over, and the editor is the best of his time, and the score was brilliant and the soundtrack superb, and the effects team spent millions to make it look and sound spectacular, and the movie was a story that was on the ‘best seller’ list for years, and the wardrobe was the finest money could buy… B. How does that film fail at the box-office?
All these craftsmen have come with excellent credentials, yet none of them can escape a failure in the future because all of them are all lacking awareness of the underlying negative components that will eliminate a continuous rate of success.
What then were the parts of filmmaking that caused the failures? What then were the components not yet quantified or found to be immeasurable? All success is founded on objective, historical, measurable results. To find true success and repeat it consistently you must find a way to measure objectivity. You must establish an objective standard by which the mysteries of the failures in the film business can be truly understood. That is the key to solving the problems and executing success every time you enter into production.
You can succeed profitably in anything - if - you can identify and avoid making errors. But - if you cannot measure your errors, you cannot identify or avoid them. Not being able to measure filmmaking errors has plagued Hollywood for a century.Cinematic forecasting & investment assurance can show you how to measure filmmaking errors, so you can identify them and avoid them, and succeed more profitably.
You need to discover as many of the parts of filmmaking that can be objectively organized in order to increase audience attendance and build commercial profitability. Here’s how…
There are four quadrants in the motion picture business (as there are in any business), but only one has ever been completely measurable. That one quadrant is…
1. The Production Craft Quadrant
(The objective object and the objective subject that form ‘the ingredients’ of measurable light and measurable sound.)
These are objective component ingredients like special effects, lighting, props, sound effects, sets, wardrobe, editing, and photography.
These are the most objectively measurable parts in motion pictures – the tangible ingredients of measurable light and measurable sound. (These components can be both qualified and quantified.) The mysteries of film failure do not lay in the production crafts.
These are well established, objective, measurable, and tangible ingredients. (Your audience can relate to these proven ingredients and the audience has a hope in your ability to use them well in future recipes, presentation, and consumption.) But the production craft is only responsible for 20% of the successful components in filmmaking.
Until now, the 2nd and 3rd quadrants would have only been partially measurable and therein is where the mysterious failures in filmmaking initiated from. Each of these quadrants are separately responsible for about 20% of North American film audience failures.
The two quadrants which were only partially measurable were;
2. The Screenplay Construction Quadrant
(The subjective objects and objective subjects that form ‘the recipe’ of immeasurable light and measurable sound.)
These are the conceptual subjects of surrounding objects inside a screenplay like landscape, character, ambiance, and artistry … that are mixed together in an exotic recipe with objective subjects like dialogue, relationship, and intent.
Some playability of the components was measurable … and some was not. The screen-playability components that were measurable (measurable ‘human verbalization’ in sound) were well known and their negative attributes were avoided at all cost.
But the playability components that were not measurable (immeasurable ‘visionary scenes’ with light) caused the many word-of-mouth problems. But since they could not be measured, they remained a mystery. (Screenplay components could be quantified but not qualified – and that problem always led to screenplay comfortability problems that can devastate the audience’s ‘suspension of disbelief’.)
Problems in comfortability make it difficult for the audience to generate positive word-of-mouth and that causes attendance failures. And...
3. The Marketability-WOM Charismatic Quadrant
(The objective objects and subjective subjects that form ‘the WORD-OF-MOUTH presentation’ of measurable light and immeasurable sound.)
These are the various levels of visual objective graphics in marketing; and the subjective sound of the audience’s word-of-mouth. These are the components required for presenting those ingredients and the recipe inside a charismatic package that will embellish the product and make it something people want to participate in and talk to their associates about.
Most marketing components were measurable, but charismatic word-of-mouth components were not. The marketability components that were measurable (measurable ‘graphic representations’ with light) were known and their negative aspects were well avoided.
But the charismatic components that hadn’t been measurable, (immeasurable ‘verbal audience responses’ in sound) caused horrendous word-of-mouth problems. The ‘graphic components’ could be fairly well quantified and qualified, but the ‘charismatic components’ could neither be quantified, nor accurately qualified, and that led to presentation problems.
Trouble in constructing charismatic marketing makes it difficult for distributors to generate the right positive word-of-mouth for market presentations and that caused many attendance failures. And because charismatic components weren’t measurable (until the recent advent of CorePersona™), they stayed a mystery.
The fourth quadrant in filmmaking had not been measurable at all. The 4th quadrant was a total mystery until CorePersona™ software was developed;
4. The Talent Chemistry Quadrant
(The subjective objects and subjective subjects that determine the audience’s ‘consumptive response’ to the products of immeasurable light and immeasurable sound.)
The chemistry components were not measurable (immeasurable ‘articulate faces’ in light) and thus their unknown negative aspects were impossible to avoid. The talent components (immeasurable ‘lingual articulation’ with sound) weren’t measurable either, and thus their unknown negative aspects and their negative consequences were impossible to avoid.
Therein hides the magical chemistry of the cinema. These components are the talent formulations and chemistries that cause film audiences to either be rendered uncomfortable – or contently enthralled.
These are the unknown formulations that can cause audiences to flock to theaters (no matter what the critics say), or simply stay away in droves. These are the unknown components that cause an audience excitement or dismay.
These are the reasons they go again, or refuse to re-attend (no matter how extensively you have bombarded them with marketing).
These are the previous unknown components that will cause an audience to either (A) encourage their friends to see the film, or (B) forget it as fast as they possibly can.
Talent chemistry is responsible for the greatest percentage of box-office failures (over 40%).
Therein are the talent and chemistry components that will either cause an audience major discomfort – or cause them greater joy. These are the subjective things like raw talent, the characters that actors play and their essences, their sex appeal, their screen presence, their star power, and previous psychological storytelling conditioning ingrained in U.S. audiences.
These are the components that create “The Magic of the Movies” and will fulfill them, or disappoint them and send them packing.
These are the imageries seen in trailers, on the web and in graphics that display the subconscious thoughts and feelings of the actors in the production and their attraction or repulsion to the interior quality of the project.
These are the signals that tell an audience whether or not to show up for opening weekend. None of the talents nor their chemistries were measurable. But since the talent’s chemistries haven’t been objectively measurable until this time, these components were responsible for the vast majority of word-of-mouth problems in filmmaking.
Until now, neither of these components could be correctly quantified nor accurately qualified. Problems in talent and chemistry make it incredibly difficult for the audience to generate positive word-of-mouth and that causes the worst attendance failures.
Everything That Exists, exists due the Pattern of Opposite Matter ... in Patterns of Opposite Motions
Patterns of opposites create the existence of Every and ALL things.
Opposites come together into various patterns and create the elements, and thus the atoms, and thus the molecules, and thus the objects and therefore the subjects that we all have to deal with consistently. There is no way to escape these opposite patterns, nor the objective and subjective existences they generate.
All THINGS have opposites ... and combinations of these binary opposites create the four quadrilateral options of all existence. Patterns of opposites create the four options for the existence of all things. To understand anything clearly, one must understand the patterns of opposites that create the things wished to be understood.
The basic opposites involved in the creation of all things is SPACE and TIME - also known as Matter and Motion. (The motion of matter constructs time while matter in motion constructs space.) The two opposites of matter are the Measurable matter of the Past - and the Immeasurable matter of the Future ... while the two opposites of motion are the Particle motion (or Light) - and the Wave of motion (or Sound).
The quantum binary continuum that the basic opposites construct, express those four types of existences. The more complex patterns that can be constructed from these four basic opposites express the four objective and subjective quadrants that must be understood in motion pictures, in order to be consistently successful.
Once you know the quadrants that must be analyzed, you can research ways to observe the different patterns that designate the objects or subjects contain within each quadrant. CFI Assurance discovered the patterns that quantify and qualify the existences of the objects and subjects contained therein. The organization and application of opposites into profitable motion pictures, is the new result of years of analysis and testing.
Now the answers to the unknown errors that cause motion picture disasters are available to those willing to learn about them - and integrate them into production. No more excuses and no more passing the blame - just clear specific reasoning, and the acute awareness to prevent those devastating errors from ever happening again.