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 4.6
  

THE TOP 50 CLASSIC CINEMATIC ARCHETYPES

The Cinematic Archetypes of The American Film Institute's Top 50 Historical Actors
and the Cinematic Archetypes of the Top 50 Contemporary Actors


The Jungian Cinematic Archetype Breakdown for the American Film Institute's 50 Greatest American Screen Legends in order of AFI importance.


CLASSIC MALE ACTORS

1.  Humphrey Bogart … Anti-Hero
2.  Cary Grant … TRUE-HERO
3.  James Stewart … Anti-Hero
4.  Marlon Brando … Anti-Hero
5.  Fred Astaire … TRUE-HERO
6.  Henry Fonda … Anti-Hero
7.  Clark Gable … Anti-Hero
8.  James Cagney … Anti-Hero
9.  Spencer Tracy … TRUE-HERO
10.  Charlie Chaplin … Anti-Hero
11.  Gary Cooper … Anti-Hero
12.  Gregory Peck … Anti-Hero
13.  John Wayne … Anti-Hero
14.  Laurence Olivier … Anti-Hero
15.  Gene Kelly …TRUE-HERO
16.  Orson Welles … Anti-Hero
17.  Kirk Douglas … TRUE-HERO
18.  James Dean … Anti-Hero
19.  Burt Lancaster … TRUE-HERO
20.  The Marx Brothers … Anti-Hero
21.  Buster Keaton … Anti-Hero
22.  Sidney Poitier … TRUE-HERO
23.  Robert Mitchum … TRUE-HERO
24.  Edward G.  Robinson … Anti-Hero
25.  William Holden … TRUE-HERO

-----------------------------------------------------
MALE -- 60% anti / 40% true
16 ANTI-HEROES vs.  9 true-heroes
-----------------------------------------------------


CLASSIC FEMALE ACTORS

1.  Katharine Hepburn … Anti-Hero
2.  Bette Davis … Anti-Hero
3.  Audrey Hepburn … TRUE-HERO
4.  Ingrid Bergman … TRUE-HERO
5.  Greta Garbo … Anti-Hero
6.  Marilyn Monroe … TRUE-HERO
7.  Elizabeth Taylor … Anti-Hero
8.  Judy Garland … Anti-Hero
9.  Marlene Dietrich … Anti-Hero
10.  Joan Crawford … Anti-Hero
11.  Barbara Stanwyck … TRUE-HERO
12.  Claudette Colbert … TRUE-HERO
13.  Grace Kelly … TRUE-HERO
14.  Ginger Rogers … TRUE-HERO
15.  Mae West … Anti-Hero
16.  Vivien Leigh … Anti-Hero
17.  Lillian Gish … TRUE-HERO
18.  Shirley Temple … Anti-Hero
19.  Rita Hayworth … Anti-Hero
20.  Lauren Bacall … Anti-Hero
21.  Sophia Loren … Anti-Hero
22.  Jean Harlow … Anti-Hero
23.  Carole Lombard … TRUE-HERO
24.  Mary Pickford … Anti-Hero
25.  Ava Gardner … Anti-Hero

-----------------------------------------------------
FEMALE -- 60% anti / 40% true
16 ANTI-HEROES vs.  9 true-heroes
-----------------------------------------------------


(Though some of these archetypes may seem contradictory to some of the roles the actor played in motion pictures, this paradox was due to restrictions or mis-assignments placed on actors by studio contracts, and unsophisticated or stereotypical audience responses in the early years of cinema.  Further details, proofs and analysis as to their archetypes are available from CFI.)

Over 800 of the top working actors in
Hollywood
have all been biometrically verified by CFI.  Another 1,700 upwardly mobile actors have been tentatively identified and are awaiting graphic verification.



THE TOP 25 CONTEMPORARY ACTOR ARCHETYPES
-----------------------------------------------------
MALE -- 60% are anti-hero / 40% are true-hero
15 ANTI-HEROES   vs.  10 true-heroes
-----------------------------------------------------
FEMALE -- 56% are anti-hero / 44% are true-hero
15 ANTI-HEROES   vs.  10 true-heroes

-----------------------------------------------------

(see modern actors on the next page at 4.6 modern archetypes)


THE IDENTITIES OF THESE CONTEMPORARY ACTORS (WITH THEIR CORRESPONDING CINEMATIC ARCHETYPES AND ESSENCE SETS) ARE CONFIDENTIAL.  THAT INFORMATION IS AVAILABLE TO CFI ASSOCIATES.
  

*AFI is the trademark of The American Film Institute and is not affiliated with CFI.
 
 


                          
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