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

1.1 future film forecasts

1.2 last weekend forecast

1.3 - 2011 profits & loss

1.4 - 2010 profits & loss

1.5 - 2009 profits & loss

1.6 - 2008 profits & loss

1.7 - 2007 profits & loss

1.8 - 2006 profits & loss

1.9 - 2005 profits & loss

1.10 - 2004-2002 charts

1.11 - 2001-1999 charts

1.12 CFI CONTACT INFO

2.1 intro to CFI

2.2 twenty-one questions

2.3 beta-testing complete

2.4 products & services

2.5 application & benefit

2.6 comparing methodology

2.7 client applications

2.8 four screen dynamics

2.9 playability errors

2.10 quadrant solutions

2.11 forecasting accuracy

2.12 edge on competition

3.1 film components

3.2 simple components

3.3 complex components

3.4 resolution components

3.5 horrific components

3.6 the two behaviorisms

3.7 audience psychology

3.8 suspending disbeliefs

3.9 four media approach

3.10 reading their faces

3.11 observing audiences

3.12 observing emotions

4.1 archetype vs. stereo

4.2 modern archetypes

4.3 good/bad guys ID key

4.4 line by line paradigm

4.5 face mapping tools

4.6 the classic archetype

4.7 casting examples

4.8 writers and archetype

4.9 subtypes & essences

4.10 act as VS. act like

4.11 Jung archetypal map

4.12 the MBDI vs. MBTI

5.1 script consulting

5.2 assist flow chart

5.3 production benefits

5.4 database tracking

5.5 client confidential

5.6 forecast fallibility

5.7 how the others fail

5.8 weekend mentality

5.9 neuromarketing news

5.10 neuromarket article

5.11 film neuromarketing

5.12 older methodologies

6.1 old studio systems

6.2 studio system assists

6.3 agent & mgr. benefits

6.4 improvements 4 talent

6.5 attending to imagery

6.6 the best attributes

6.7 talent research

6.8 star power ratings

6.9 star client results

6.10 secret sex chemistry

6.11 archetype inventory

6.12 sub-type inventory

7.1 CFI contact info

7.2 similar companies

7.3 actor archetype lists

7.4 bibliography to study

7.5 urls continued study

7.6 ROIs for 1999 & 2000

7.7 ROIs for 2001 & 2002

7.8 ROIs for 2003 & 2004

7.9 ROIs for 2005 & 2006

7.10 ROIs for 2007 & 2008

7.11 ROIs for 2009 - 2010

7.12 ROIs for 2011 - 2012

page 3.1

 
The Unseen Structural Component Formulations
... that are Keeping Your Audiences Happy



In the U.S. motion picture business, over two-hundred cinematic components establish the very foundation of the audience’s ability to suspend disbelief in the cinema and enjoy their story-telling experience. Get the components right and they love you -- get them wrong and you're stuck with a box-office failure.


At CFI™, we can predict which way it's going to go for you BEFORE you spend too much money on it.
Here's how...


FIRST, WE CALCULATE THE TOTAL COMPONENT PERCENTAGE SCORE FOR FEATURES IN PRE OR POST-PRODUCTION BASED ON THE OVER 200 COMPONENTS AND THOUSANDS OF FORMULATIONS. This black and white tabulation for determining profit/loss probabilities uses an exclusive mathematical algorithms involving historic pattern dynamics and comparative cost/benefit evaluations.


WHENEVER A FILM SCORES ABOVE ZERO COMPONENT PERCENTAGE POINTS, IT IS CERTAIN TO EARN A PROFIT MAKING REVENUE (or at the very least break even) AT THE U.S. BOX-OFFICE.

but...
WHENEVER A FILM SCORES BELOW ZERO COMPONENT PERCENTAGE POINTS, IT IS CERTAIN TO LOSE ANY PROFIT MAKING REVENUE AT THE U.S. BOX-OFFICE.


By evaluating the project's component score percentages and making adjustments before photography is concluded, filmmakers can avoid component errors and produce consistent hits one right after the other.

This program includes the complete cinematic components which mass audiences continuously and unconsciously assimilate during their viewing procedures.

These are thousands of important ways you can either magnify and exalt -- or annihilate and desecrate your audience’s trust and desires. The choice is up to you.

These are over two-hundred psychological components and thousands of formulations that must be addressed correctly or you will fail proportionately to the number of components you’ve mis-addressed, and thus betray your audience. Whether your job is to entertain or to educate, it cannot possibly be conducted with an audience that feels betrayed.

Cinematic Forecasting and Investment Assurance LLC tabulates the structural cinematic components and formulations to evaluate and audit motion pictures in development, pre-production, post-production, and pre-release marketing. The results are used to reconstruct story development, improve production casting and organize marketing tactics and strategies to increase attendance and distribution profitability.
 

These structural components are not about your typical Hollywood writer's guru
classic story development formulas or theoretical storytelling plot lines
.

These components are development and production components that are critically instrumental in any film, regardless of its content or context.

These are thousands of audience psychologies or "Suspension Of Disbelief" (SOD) paradigms that must be accounted for in your presentation -- or you will betray your audience and destroy their acceptance. When accounted for correctly, they will inspire your audience to promote your endeavors and encourage the attendance of their friends.

A couple of the over two-hundred component formulations have been well known for years, BUT the structural components which had not yet been discovered are the most crucial for audience word of mouth success. Sometimes they work serendipitously -- but "sometimes" is just not enough. Especially when the life of your company hangs in the balance.

It was only recently that the full spectrums of component factorizations were scientifically discerned. These structural components were then sociologically validated and fiscally authenticated by response examinations and by profit and loss outcomes. Every successful film in history has used these components in correct alignment -- and every film failure in history didn't.


Enhancing the positive structural components and avoiding the negative components or formulation oversights in development and production are the goals of every storyteller.


However, to avoid errors you must have a consciousness of their existence -- and the effect it has on consumers and their skeptical friends. Not only must you include the positive components to make a profit at the box-office, but you must also avoid including any negative components that will cause you to lose it.

Awareness of the audience and how they make or break you is what it takes. Investing in understanding these intricate components will give you the audience you want. For what would be the purpose of filmmaking and educating or entertaining people if nobody shows up? Do you really only want to be in the show for just one weekend?

All component formulations and the point valuations derived from decades of motion picture audience response research are now available from Cinematic Forecasting and Investment Assurance LLC.




 
                          
CFI website map for 2011

1.1 FUTURE FILM Forecasts
2.1 Introduction to CFI
3.1 Unseen Components
4.1 Archetype vs. Stereo
5.1 Screenplay Consulting
6.1 Old Studio System
7.1 CFI CONTACT INFO
1.2 LAST WEEKEND Forecast
2.2 Twenty-One Questions
3.2 Simple Components
4.2 Modern Archetypes
5.2 Assist Flow Chart
6.2 Studio System Assists
7.2 Similar Companies
1.3 2011 Profit & Loss Chart
2.3 Beta-Testing Complete
3.3 Complex Components
4.3 Good/Bad Guys ID Keys
5.3 Production Benefits
6.3 Agent & Mgr. Benefits
7.3 Actor Archetype Lists
1.4 2010 Profit & Loss Chart
2.4 Products & Services
3.4 Resolution Components
4.4 Line by Line Paradigm
5.4 Database Tracking
6.4 Improvements 4 Talent
7.4 Bibliography for Study 
1.5 2009 Profit & Loss Chart
2.5 Application & Benefit
3.5 Horrific Components
4.5 Face Mapping Tools
5.5 Client Confidential
6.5 Attending to Imagery
7.5 URLs to Continue Study
1.6 2008 Profit & Loss Chart
2.6 Comparing Methodology
3.6 The Two Behaviors
4.6 The Classic Archetypes
5.6 Forecast Fallibility
6.6 The Best Attributes
7.6 ROIs for 1999 - 2000
1.7 2007 Profit & Loss Chart
2.7 Client Applications
3.7 Audience Psychology
4.7 Casting Examples
5.7 How the Others Fail
6.7 Talent Research
7.7 ROIs for 2001 - 2002
1.8 2006 Profit & Loss Chart
2.8 Four Screen Dynamics
3.8 Suspending Disbelief
4.8 Writers and Archetype
5.8 Weekend Mentality
6.8 Star Power Ratings
7.8 ROIs for 2003 - 2004
1.9 2005 Profit & Loss Chart
2.9 Playability Errors
3.9 Four Media Approach
4.9 Subtypes & Essences
5.9 Neuromarketing News
6.9 Star Client Results
7.9 ROIs for 2005 - 2006
1.10 2004 - 2002 P & L Chart
2.10 Quadrant Solutions
3.10 Reading Their Faces
4.10 Act As vs. Act Like
5.10 Neuromarket Article
6.10 Secret Sex Chemistry
7.10 ROIs for 2007 - 2008
1.11 2001 - 1999 P & L Chart
2.11 Forecasting Accuracy
3.11 Observing Audiences
4.11 Jung Archetypal Map
5.11 Film Neuromarketing
6.11 Archetype Inventory
7.11 ROIs for 2009 - 2010
1.12 CFI CONTACT INFO
2.12 Edge on Competition
3.12 Observing Emotions
4.12 The MBDI vs. MBTI
5.12 Older Methodologies
6.12 Sub-Type Inventory
7.12 Senior Analyst Bio