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 6.7


The Importance of Talent Research
 

 

The competition in this business…gets harder and harder every year with more and more people fighting for the limelight.


To stay ahead of the massive starry-eyed hordes, you need something BRIGHTER, something NEW, and something they don’t all have access to.  You need something really incredible they can’t do on their own.

 

 

BACK IN THE OLD DAYS,

having a career in the entertainment business (or being an artist for that matter) was mostly looked down on as something sordid or immoral.  Winning a lottery was considered slothful and evil.  Moving to Hollywood was wicked and vile! And scary and solemn! Remember? 

 

 

WELL, THOSE DAYS ARE OVER!

Now, everyone and anyone with a cheap airline ticket (remember when airline tickets used to cost MORE than a bus ride?) and even the slightest notion they are ‘a star’ (or ‘at least as good as that other guy’) comes to Hollywood or New York or American Idol and begins competing for basically the same pro capita percentage of theatrical occupations as they had in the old days -- when a lifestyle in entertainment was still a sin.  Now that it’s not so taboo to take your pantaloons off, more people are competing for the same opportunities and that makes it rough.   

 

Sure it’s true that with all the new media burgeoning forth, there actually are more parts and roles available ... but the number of those parts are still miniscule compared to the burgeoning number of ‘wannabes’ infiltrating the business.  And the amount of star power roles are, and will forever be, limited to the same amount they always have been.  There are only so many ‘stars’ the media can find the wherewithal to agree upon and exploit in the next sixty seconds. 

 

More channels on satellite only segment the audience further and require publicists to work even harder in order to get your face on more and more screens.  The more star searchers coming to Hollywood, and the more channels you have on the internet, doesn’t automatically mean the audience can hand over more time, interest and adoration or increase their expendable income just satisfy an exponential increase in the number of ‘star power’ stars.  Filling the world up with hundreds of stars cannot force the audience to watch them all in their still shrinking amount of free time.  There is only a certain percentage of casual time available for star gazing … so no matter how much media you generate ...  the mass audience is still only going to be able to respond to the same number of stars as they’ve always responded to before.  The rest of your quote unquote stars are just going to get ignored.

 

So regardless of how many people are born each year or no matter how many screens or networks can build pipelines, the number of star power titles and positions will always remain small.  Sure, you can rotate more and spend less time on each one in order to highlight a bigger number of stars but until you an figure out a way for the public to stop working and only go to the movies all day long without getting fatigued, that’s just the way it goes! 

 

The highest, brightest stars -- require the biggest spaces -- and the biggest spaces are limited.  There is a limit to how much the public can absorb and relate to and the Hollywood publicity machine has seen to it that this limit is pushed to its fullest extent.  The media and the public cannot ingest (or digest) any more stars than they have before. 

 

When they have tried to cram more stars into less space in order to fit them all into our limited attention spans, those stars just became smaller ... and dimmer ... and weaker … and we are becoming unable to tell them apart.  If their time in the spotlight gets any shorter, we won’t even have time to hear their names read as they pass by on the red carpet.  Everybody will have to take a number.  Flavor of the month has become flavor of the moment.  None of the fast-track stars are even half a star anymore and studio returns on their investments are infinitesimal.

 

The number of major media talents the audience has paid attention to in the past is the same number as they’ll pay attention to in the future -- but now there’s even more warm bodies competing for the limited positions than there has ever been -- and you can count on even more competition for those limited and coveted roles in the future.  (Especially when every Tom, Dick and Harry hears about all the new opportunities in new entertainment venues and new production channels and the new global marketplace.) They’ll be swarming into Hollywood like flies!

 

The competition is obscene.  What you really need now is a way to make your stars shine FARTHER and BRIGHTER than ever before and get the star attention they deserve.  The way is through amplification and magnification of their star power essences and charismatic archetypes -- and promoting them wisely and accurately. 

 

…That way is through CFI Screen Dynamics™.

 

The invaluable image qualities and capacities that CFI can provide your crew through talent research and image applications are crucial for getting you in front of the crowd and essential for keeping you ahead of the pack.


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6.8  Star Power Archetype Ratings - 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