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 6.4


Personal Improvements for Entertainment Talent


One of CFI's services within the industry is to increase player productivity and career profitability through the creation and development of charismatic talent imaging. We accomplish this goal through biometric image processing and talent charisma technology.

Using new scientific facial identification techniques and imaging market research, we pinpoint exactly what movie audiences think about your talent and how they could enjoy them more when they are presented. We conduct in-depth audience surveys to identify and activate the powerful screen essences of your visual or audio talents, so they can be more successful as clients. This increases your company’s productivity, guarantees accurate casting and insures that goals are met more successfully.

We deploy new market audience research tools to discover what mass audiences really think about each talent and how they should "act as" in motion pictures. By running proprietary biometric identification software in combination with audience response perceptualizations, we can evaluate your talent’s inner capacity for charismatic star quality and profile the imaging patterns necessary to accomplish it.

We also specialize in cinematic archetypes and screen essence set imagery. Using our special imaging processes, your actors can target compatible projects that achieve the greatest possible opportunity for obtaining the roles which truly magnify their intrinsic screen personalities.

By focusing your client’s intricate screen essences towards those opportunities most likely to succeed, we save you precious time and money and increase your power and influence in the industry. With this private technology, we can pinpoint which actor has "IT"...and which actor doesn’t.

We use this data to show you how to incorporate a truly blazing career track for your individual talents -- a career track that precisely accentuates the player’s unique screen imagery and exponentially advances their skills in getting cast.

We can actually guarantee a charismatic performance on screen, and deep sexual chemistry through precise motion picture casting.



MEMORABILITY AND BELIEVABILITY
...The Two Most Critical Factors for Audience Allegiance and Actor Acclaim


You may not have heard of the eight component applications below -- and that would be completely appropriate -- as studios and producers don't like giving away the secrets of their craft. The component applications for motion picture actors are:

1. Cinematic ARCHETYPES

2. Programmed SUB-TYPES

3. Conditioned ESSENCES

4. Charismatic ESSENCE SETS

5. Myofacial Articulation

6. Linguistic Elocution

7. Myo-electric Modulation

8. Kinetic Motorization

These eight dynamics are the keys to true charisma and absolute believability that the audience desperately seeks from your players in order to suspend disbelief.

An audience becomes one with the actor it believes in. They can suspend disbelief and trust player activities in a story as long as the player is believable and true to the audience’s humanity. Having believable actors leading them through unbelievable events on screen is the purest way an audience can fully suspend disbelief in a storyline.

This is the leadership and trust an audience must have in order to suspend disbelief. They must be able to follow a believable actor. Without believable actors, the audience cannot trust in the story and suspend their defense.

If they do not believe the player (or the part the actor plays), they cannot safely, nor comfortably relate and associate or participate inside the unique and incredible plot points already engaging suspension of disbelief. If the audience does not feel safe and comfortable with mimicking the actor, they will not encourage their friends. They will not risk their personal prestige on your misaligned archetypes and essences.

Your audience will never tolerate an unbelievable story IF that story involves talent they cannot find a believable relationship with. The audience will never accept imaginary story points (that they must suspend disbelief of) if they involve unbelievable actors in parts they have to "pretend" they aren’t disbelieving.

To ask your audience to pretend that the actor is believable and then ask them to pretend the activities are also believable is asking far too much of your trusting audience. That’s asking your audience to make up for your insufficient casting knowledge and failing to provide them with believable actors. They won’t encourage their friends to suffer the same indignity.


RULE A:
THE AUDIENCE WILL ALLOW UNBELIEVABLE PLOT POINTS TO HAPPEN TO "BELIEVABLE" PLAYERS - but the audience will NOT allow unbelievable plot points to happen to "unbelievable" players.


RULE B:
THE AUDIENCE WILL ALLOW BELIEVABLE PLOT POINTS TO HAPPEN TO "BELIEVABLE" PLAYERS - but the audience will NOT allow believable plot points to happen to "unbelievable" players. You must ALWAYS provide actors with believable archetypes and the believable essences.


Hypothetically -- if the audience was really 'suspending belief' instead of "disbelief", then unbelievable players would be acceptable. In other words, anyone could be an actor because the audience would believe that any acting was believable anyway. But since they are not actually suspending belief, but suspending doubt or disbelief as in "nothing in the story is impossible" (as long as its human is real), then unbelievable actors are unacceptable. They have to be real.

Audiences can ONLY participate with parts and players in which they BELIEVE and TRUST -- believe and trust in either emotional or mental relationships, while at the same time they are suspending disbelief in unbelievable and believable storylines within the accounting of their lives.

Only story points or plot points can receive the cherished "suspension of disbelief" from the audience -- the players and their parts do not. Nor will they ever, as long as the purpose of telling a story is for the audience to be able to vicariously participate with the players (as if they were the characters themselves). An audience cannot vicariously relate through an actor it cannot trust. Unbelievable actors cannot be trusted -- therefore they cannot carry an audience through the story. Their leadership is null and void.


ACTORS MUST BE BELIEVABLE.

Even if the Players are just CGI -- they must be believable. The audience will sit through war and hell for believable players if they can trust the player to act in the part the same way they believe the player really exists. The audience can tell (and will gladly tell others) when you are real -- and when you are not!

Your audiences are the ones who decide what is believable about you -- and what about you is not. KNOWING WHAT THE AUDIENCE BELIEVES AND FEELS ABOUT YOUR PLAYER IS THEREFORE CRITICALLY IMPORTANT TO SUCCESSFULLY PLACING THE BELIEVABLE PLAYERS INSIDE PARTS WITH MATCHING PERSONAS.

Without believability, you are a failure. However, with it you have the audience and all their money right in the palm of your hands! Your audience expects your player to be believable -- and they will not suspend disbelief for them when they aren't.

To ensure successful art, consistent packaging of players and intelligent casting by producers must be addressed properly to guarantee the audience’s trust. Believability can only be achieved when the players understand or recognize exactly what it is to be 'IN' essence for the audience (as compared to ‘out o essence’) and exactly what it is to fulfill their cinematic archetype for the audience (as compared to archetype failure).

We specialize in the identification of qualified players and their development (with their teams) into constructive and intelligent packages based on exacting audience response analysis of the actor’s charismatic components.

There are over two-hundred other important film components incorporated inside the audience’s suspension of disbelief which include exact formulations for; Production Values, Sexual Chemistry, Character Acting, Comedians and Antagonists, Star Power Attractions, Adrenaline Attractions, etc.

When aligned together correctly, they absolutely guarantee the domestic box office success of any motion picture. That seems like something that is too good to be true ... and yet, it truly exists.

When all component dynamics are addressed correctly, an audience can thoroughly enjoy the cinematic experience and enthusiastically express it to their friends and family. CFI provides this benefit by educating producers on the components involving the over two-hundred formulations of filmmaking that 'betray your audience's suspension of disbelief'. 
 




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6.5  Attending to Talent Imagery - 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