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 4.1


Archetype vs. Stereotype

and the Opposing Cinematic Archetypes



Steven Speilberg once said in a televised Actor’s Studio interview that;

"Different personalities think different ways and different parts have different thoughts.  Knowing which way the actor personally thinks, (the actor's archetype) helps you place him in the character (the cinematic archetype) that thinks the same way."
 


 
And the late, great Alfred Hitchcock was quoted in one of his last interviews stating;

"I believe a director MUST know the psychology of his audience." 
 

With CFI's assistance, you can take advantage of an interactive psychology and focus on the intimate, charismatic communication so important within the motion picture business between the psychology of the audience, and the psychologies of the actors.
 
Sometimes there’s semantic confusion between cinematic archetypes and the common, everyday version of commercialized stereotypes. 

Below are the psycho-dynamic differences between the two types.  When studied closely, it becomes clear that they are two opposite applications within a theatrical arena.  It also becomes clear that archetypes are more instrumental in fulfilling the audiences expectations and satisfying their desire for believability.
 

STEREOTYPES -- are sociological labels for countless social "personas" or cartoon characterizations that are generally evident in a specific country or culture and are expressed by portrayals of actors in episodes of serialized films, theater or repetitious television programs or commercial advertisements.  These visual or audio labels re-enforce the commercial conception histrionically and they are adopted as perpetual icons by casual observers within the life of the culture or society.  Stereotypes are indicated by PHYSICAL ATTRIBUTES.
 

ARCHETYPES -- are psychological labels for two human personalities represented by psychological paradigms that are specifically and biometrically evident globally and are expressed by the behavioral patterns of everyday people in the summation of human life stories.  These visual / audio behaviors indicate moral activity historically and they become expected by audiences as life story characters within the portrayal of any human experience.  Archetypes are indicated by PSYCHOLOGICAL ATTITUDES.
 

In other words,

Stereotypes are hundreds of generalized, physically commercial examples of personalities which do not represent human moral capacity; while Archetypes are specifically two psychological human behavioral capacities which specifically represent one of two moral examples. 


Here’s an example:
 
A stereotype (let’s say a "sexy street hooker") has an image that is physically commercialized, but the actual human choice to fight as a True-hero, or to flight as the Anti-hero, is up to the role written into the story (not up to the graphic image of the call girl).  The culturally stereotyped ‘hooker’ image can choose either type of behavior in a story.  Successful acting will only occur if the actor, playing the hooker, has the correct personal archetype for the scripted behavior and is correct psychologically for the scripted action the ‘hooker’ takes.  
 
If the actor playing the hooker has a personal Anti-hero oriented archetype and the script requires the hooker to kill a homeless woman -- the action is natural and believable.  
 
If the actor playing the hooker has a personal True-hero archetype and the script calls for the hooker to save the life of a child in a car fire -- the action is natural and believable. 

However, if you switch those two actions, the acting will fail.


If the actor playing the hooker has a personal Anti-hero oriented archetype and the script requires the hooker to save the life of a child in a car fire -- the action is UNnatural and NOT believable.  
 
If the actor playing the hooker has a personal True-hero archetype and the script calls for the hooker to kill a homeless woman -- the action is UNnatural and NOT believable.  
 


HERE ARE SOME EXAMPLES
:

Sharon Stone is a CFI biometrically verified ANTI-Hero cinematic archetype.

Pretend Ms.  Stone is playing the Anti-hero hooker who kills the homeless…that flies.

Now pretend she is playing the True-hero hooker who saves a child…that FAILS.
 

Diane Lane is a biometrically verified TRUE-hero cinematic archetype.

Pretend Ms.  Lane is playing the Anti-hero hooker who kills the homeless…that fails.

Now pretend she is playing the True-hero hooker who saves a child…that flies.
 


Here’s another point of view; 

A "Pollyanna looking mom" could participate in either of two opposite activities.  One activity would be to save others at risk (the True-hero role) and the other activity is to just save herself at risk (as the Anti-hero role).  
 
Her cultural image as a ‘Pollyanna looking mom’ does not determine which of the two opposite choices she is assigned in the story line.  The type of storyline activity is chosen by the writer.  What was written determines the actor and archetype that needs to be cast in the role.
 

AGAIN…

Pretend Ms. Stone is playing the Anti-hero Pollyanna mom who kills the homeless…that flies.

Now pretend she is playing the True-hero Pollyanna mom who saves a child…that fails.
 
Pretend Ms. Lane is playing the Anti-hero Pollyanna mom who kills the homeless…that fails.

Now pretend she is playing the True-hero Pollyanna mom who saves a child…that flies.
 

ANY stereotype can be a True-hero or an Anti-hero, and it won’t disappoint the audience if the correct actor’s archetype is cast to match the archetype of the script. 

However, if the choice of hero activity in the film’s storyline for that stereotype does not match the personal archetype of the actor portraying that stereotype ... the audience is dust.
 

If the actor’s personal archetypal image does not match the archetypal activity in the storyline, it doesn’t matter what kind of costume they wear, the audience will be crushed.


‘Stereotype’ is a physical or costume image temporarily worn on the body;

‘ARCHETYPE’ is the psychological image permanently worn IN THE FACE.

If the actor’s personal archetype doesn’t match the story’s archetype activity -- the actor’s portrayal is a wasted effort and an huge audience disappointment.


                          
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