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 6.1


The Secrets of the

Old Studio System Star-Makers

 

 

In the Hollywood studio systems of yesterday, film players passed through a rigorous program of screen imaging designed to immortalize them as charismatic stars.  The old studios clearly understood the truth that entertainment on film is a business, and talent is a product -- not some surrealistic objet d'art. 

 

Glamour, charisma, and the public’s infatuation with their product were the studio’s ultimate goal.  They were wise enough to realize that researching what the public wanted (or expected) from their talents would provide them with the specific tools required to shape their talents into financial and creatively prosperous stars.  It was their graphic imaging power -- that was the reason they could dominate the marketplace and bolster attendance among their private theater chains. 

 

 

Past studio producers and executives avoided serious casting or film disasters using

these secret imaging systems with every product they developed in their studios.

 

When independent producers stepped up production and distribution (after studio systems were decimated by anti-trust regulations), the secrets to the system were eventually lost and dissolved along with the other creative studio system secrets left on decaying celluloid.

 

Artists and craftsmen who developed the original charismatic processes were left to their own devices.  Without financial and executive support of the newer studios, experts in charismatic imaging quietly disappeared.  Modern filmmakers and talent agents arrogantly disregarded them as part of the old system they had put to rest. 

 

New filmmakers turned imaging efforts over to a diversified mix of product marketing companies who really didn’t have a clue as to the secret screen imaging formulas which had been so successful in the glamour years.  Fortunately for the new filmmakers, they could still work with previously glamorized stars until they had time to develop new talents with the tedious new process of charismatic trial-and-error in film casting. 

 

This expensive and frequently devastating process of trial-and-error had an ironic effect.  It prevented rich, new independents from becoming studios themselves and prevented them from keeping a dominance over lesser independents.  Their screen casting gambles and lack of clear imaging formulations forced them to suffer higher percentages of failed products -- which knocks them out of their ivory towers with consistent frequency. 

 

The new trial-and-error approach to star-making caused the audience to take a more critical approach to unknown talent.  Instead of just letting moguls and their studio publicity departments guide them along, audiences became more opinionated and sophisticated.  The resulting paradigm shift caused the audience to grow ever more skeptical and analytical about the acting of each new film. 

 

Audiences grew more mature.  They came to expect more and more reality from every new performance.  Computer-generated graphic effects made the audience even more sophisticated.  If an independent or a restructured studio had previously been able to resurrect the intricate imaging formula of casting, chemistry, and charisma and combine them into the new artistry, they could have won every audience and out-marketed and overpowered the rest of the cinematic industry. 

 

But, that was then.  Now that huge global conglomerates have once again obtained massive vertical integration, the cinema secrets are even more critical for success.  For several giant corporations owning the entire consumer pipeline from start to finish, competing from cradle-to-grave so to speak – superior product quality is the only real edge left.

 

 

It’s not how many times producers can succeed that keeps a studio or a talent in the money ... it’s their ability to consistently avoid casting and component disasters ... that will keep a company afloat.

 

One failure in casting or screen imaging can destroy an entire career of success.  Twice in a row can shipwreck an entire studio. 

 

The tricks of the old studio system have been rediscovered in the powerful formulas and screen imaging processes which are now available from CFI™.   

 

Besides the standard equations from the old studio formulas, CFI™ has also developed sophisticated new refinements to the imaging process and perfected casting techniques which gratify the audience's suspension-of-disbelief psychology.   
   


This is page
6.1  old studio systems
 
To continue on to
6.2  studio system assistance - click here
 
                           
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