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 3.8

Trusting in the Suspension of Disbelief ... 
and how e
verything will go to hell in a hand-basket if you betray it.


Above all else, the most critical component in our cinematic industry is the audience -- and the way they psychologically respond to your product during their brief visit in the darkness and how they share it with their friends and come back and see it again.  “Word-of-mouth” -- nothing in movies is more important.  They must watch as if “nothing is impossible, suspending disbelief” in order to maximize the theatrical experience. 
 

They suspend their social defensiveness and inclination to doubt.  They suspend their disbelief that the story IS NOT true -- so therein your story has the opportunity to find relativity to the truth in their lives.  This intimate trust, tender faith and intimate love for story telling which mass audiences keep sacred within IS the most valuable, the most important and the most overlooked or misunderstood segment of development and pre-production today.

(IN FILMMAKING, THE AUDIENCES "HOPE FOR THE BEST"… the suspension of disbelief.  In television viewing it is the opposite.  Audiences "Believe in the Worst"… the enforcement of belief.)


 WHY then…
do SEVENTY-SEVEN PERCENT (77%) or more of all films deemed worthy for spending millions of dollars of advertising and marketing on – never make a single dollar in profit at the U.S. box office?

The reason is simple.  THE AUDIENCE WAS 'BETRAYED'. 
THEIR SUSPENSION OF DISBELIEF WAS DECIMATED.  

And an audience won’t share that hurtful, horrible taste you left in their mouths with their friends.  They won’t tell their neighbors to go because they don’t want them to suffer the same fate as well. 

It cannot be said big enough or loud enough…

BETRAYING YOUR AUDIENCE IS SUICIDE! 

Specifically, betraying your audience’s suspension of disbelief is a death wish.  It’s a curse -- the dark, evil plague of every flop you’ve ever experienced.  Betraying your audience’s suspension of disbelief is absolutely and mathematically without doubt, the exact cause of every motion picture failure that ever existed!

Above everything else, the most crucial component in the film business is your audience’s suspension of disbelief and that way that they psychologically respond to product and in how they share it with their friends to come back and see it again and again – or not.  NOTHING is in filmmaking is more important.  For without an audience to hand you money, nobody will make your cameras -- and nobody will make your film.

Understanding HOW to avoid betraying one’s audience and enhancing their suspension of disbelief, thereby preciously increasing their film going experience, is the entire reason the CFI Motion Picture Performance Index™ and Screen Dynamics™ exists.

Avoiding the errors of suspended disbelief is critical to consistent product life cycling.  It is crucial for investment risk aversion and axiomatic for responsible earnings management.  

It doesn’t matter if you are creative as all get out … or if you spent a fortune in special effects … or if you’re the greatest director of all time … or if a thousand Academy-award winning thespians graced the stage and it garnered the biggest blitz in advertising history.  It all means NOTHING, if no one tells their friends to go see you.  You have failed to entertain.  You have failed the purpose to begin with.  

All the opening weekend money in the world won’t make an audience tell their friends to go see your movie if it betrayed them.  And all it takes to betray them, is to ignorantly disrespect their precious and intimate suspension of disbelief -- or the eighty-seven components that psychologically construct it. 

 
                          
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