Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-lj6df Total loading time: 0 Render date: 2024-11-12T21:36:45.930Z Has data issue: false hasContentIssue false

4 - Making and Marketing Movies

from Part II - Media-Dependent Entertainment

Published online by Cambridge University Press:  26 June 2020

Get access

Summary

This chapter explains the basic structure, and the financial, production, and marketing aspects that are fundamental to making and marketing movies.

Type
Chapter
Information
Entertainment Industry Economics
A Guide for Financial Analysis
, pp. 134 - 204
Publisher: Cambridge University Press
Print publication year: 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Further Reading

Akst, D. (1987). “Directors and Producers Face Showdown over Residuals,” Wall Street Journal, June 11.Google Scholar
Appleton, D., and Yankelovits, D. (2010). Hollywood Dealmaking: Negotiating Talent Agreements for Film, TV and New Media, 2nd ed. New York: Allworth Press.Google Scholar
Attanasio, P. (1983). “The Heady Heyday of a Hollywood Lawyer,” Esquire, 99(4)(April).Google Scholar
Bach, S. (1985). Final Cut: Dreams and Disaster in the Making of Heavens Gate, the Film That Sank United Artists. New York: William Morrow.Google Scholar
Barboza, B. (2005). “Hollywood Movie Studios See the Chinese Film Market as Their Next Rising Star,” New York Times, July 4.Google Scholar
Barnes, B. (2018). “‘Panther’ Changes Game,” New York Times, February 16.Google Scholar
Barnes, B. (2013). “Paramount Hopes New ‘Star Trek’ Is a Global Crowd-Pleaser,” New York Times, May 3.Google Scholar
Barnes, B. (2012). “‘Ishtar’ Lands on Mars,” New York Times, March 12.Google Scholar
Barnes, B. (2008). “At Cineplexes, Sports, Opera, Maybe a Movie,” New York Times, March 23.Google Scholar
Barnes, B., and Richtel, M. (2008). “Studios Are Trying to Stop DVDs from Fading to Black,” New York Times, February 25.Google Scholar
Bart, P. (1999). The Gross: The Hits, The Flops – The Summer That Ate Hollywood. New York: St. Martin’s Press.Google Scholar
Bart, P. (1990). Fade Out: The Calamitous Final Days of MGM. New York: William Morrow.Google Scholar
Bellman, E., and Schuker, L. A. E. (2008). “Bollywood Dreams Benefit Both Parties,” Wall Street Journal, June 19.Google Scholar
Bender, R. (2015). “A French TV Series Courts Global Appeal,” Wall Street Journal, April 14.Google Scholar
Bilton, N. (2017). “Why Hollywood As We Know It Is Already Over,” Vanity Fair, October.Google Scholar
Bingen, S., Sylvester, S. X., and Troyen, M. (2011). M-G-M: Hollywood’s Greatest Back Lot. Solana Beach, CA: Santa Monica Press.Google Scholar
Brown, E. (2005). “Coming Soon to a Tiny Screen Near You,” Forbes, 175(11)(May 23).Google Scholar
Brown, G. (1995). Movie Time: A Chronology of Hollywood and the Movie Industry. New York: Macmillan.Google Scholar
Bunn, A. (2004). “Welcome to Planet Pixar,” Wired, June.Google Scholar
Carr, D. (2003). “Major Stars Not So Crucial as Concept Trumps Celebrity,” New York Times, June 23.Google Scholar
Carter, S. (2016). “The Reel World,” Wall Street Journal Magazine, July/August.Google Scholar
Carvell, T. (2000). “The Talented Messrs. Weinstein,” Fortune, 141(5)(March 6).Google Scholar
Carvell, T. (1998). “How Sony Created a Monster,” Fortune, 137(11)(June 8).Google Scholar
Cassidy, J. (2013). “China’s Hollywood,” The Economist, December 21.Google Scholar
Cassidy, J. (1997). “Chaos in Hollywood,” The New Yorker, March 31.Google Scholar
Catmull, E. (2014). Creativity, Inc. New York: Random House.Google Scholar
Catmull, E. (2008). “How Pixar Fosters Collective Creativity,” Harvard Business Review, September.Google Scholar
Cieply, M. (2013a). “China Wants Its Films to Be Big in U.S., Too,” New York Times, November 7.Google Scholar
Cieply, M. (2013b). “Appeal of 3-D Wanes, but New Releases Are Still Planned,” New York Times, August 12.Google Scholar
Cieply, M. (2013c). “A Movie Mogul Rising,” New York Times, January 15.Google Scholar
Cieply, M. (2011). “Sony, Like Old Hollywood, Banks on Familiar Faces,” New York Times, July 18.Google Scholar
Cieply, M. (2010). “Out of the Labyrinth and onto the Screen,” New York Times, April 15.Google Scholar
Cieply, M. (1987). “MCA Is in Front Line of Hollywood’s Fight to Rein in TV Costs,” Wall Street Journal, March 6.Google Scholar
Cieply, M. (1986). “An Agent Dominates Film and TV Studios with Package Deals,” Wall Street Journal, December 19.Google Scholar
Clifford, S. (2010). “Branding Comes Early in Filmmaking Process,” New York Times, April 5.Google Scholar
Cooper, M. (1987). “Concession Stand: Can the Hollywood Unions Survive?” American Film, 13(3)(December).Google Scholar
Cox, M. (1984). “A First Feature Film Is Made on the Cheap, Not Hollywood’s Way,” Wall Street Journal, May 14.Google Scholar
Daly, M. (1984). “The Making of The Cotton Club: A True Tale of Hollywood,” New York Magazine, May 7.Google Scholar
DeGeorge, G. (1996) The Making of a Blockbuster: How Wayne Huizenga Built a Sports and Entertainment Empire. New York: Wiley.Google Scholar
Denby, D. (2007). “Hollywood Looks for a Future,” The New Yorker, January 8.Google Scholar
Denby, D. (1986). “Can the Movies Be Saved?” New York Magazine, July 21.Google Scholar
De Vany, A., and Walls, W. D. (2000). “Does Hollywood Make Too Many R-Rated Movies? Risk, Stochastic Dominance, and the Illusion of Expectation,” Irvine, CA: University of California, Department of Economics.Google Scholar
De Vany, A., and Walls, W.D. (1999). “Uncertainty in the Movie Industry: Does Star Power Reduce the Terror of the Box Office?” Journal of Cultural Economics, 23(4)(November).Google Scholar
Dodes, R. (2012). “What’s in a Name?” Wall Street Journal, October 19.Google Scholar
Eller, C. (2003). “Movie Studios Learn Sharing Burden Can Be Risky Business,” Los Angeles Times, April 16.Google Scholar
Eller, C. (2002). “Marketing Costs Scale the Heights,” Los Angeles Times, October 21.Google Scholar
Eller, C., and Bates, J. (2000). “Talent Agents About to Demand Bigger Piece of Pie,” Los Angeles Times, October 31.Google Scholar
Eller, C., and Hofmeister, S. (2005). “DreamWorks Sale Sounds Wake-Up Call for Indies,” Los Angeles Times, December 17.Google Scholar
Epstein, E. J. (2005). “Hollywood, the Remake,” Wall Street Journal, December 29.Google Scholar
Evans, D. A. (1984). “Reel Risk: Movie Tax Shelters Aren’t Box-Office Boffo,” Barron’s, January 9.Google Scholar
Finler, J. W. (1988). The Hollywood Story. New York: Crown Publishing.Google Scholar
Fleming, C. (1995). “$200 Million under the Sea: The Inside Story of Kevin Costner’s Disaster-Prone Waterworld,” Vanity Fair, August.Google Scholar
Frank, B. (1994). “Optimal Timing of Movie Releases in Ancillary Markets: The Case of Video Releases,” Journal of Cultural Economics, 182(June).Google Scholar
Friend, T. (2016). “The Mogul of the Middle,” The New Yorker, January 11.Google Scholar
Fritz, B. (2018). “The Oscar for Best Picture Goes to … Something You Probably Didn’t See,” Wall Street Journal, March 2.Google Scholar
Fritz, B. (2017). “Movie? What’s a Movie?” Wall Street Journal, July 12.Google Scholar
Fritz, B. (2015a). “Summer of the Indie Meltdown,” Wall Street Journal, July 24.Google Scholar
Fritz, B. (2015b). “Disney Milks Its Hits for Profits Ever After,” Wall Street Journal, June 9.Google Scholar
Fritz, B. (2013). “Hollywood Takes Spanish Lessons as Latinos Stream to the Movies,” Wall Street Journal, August 10.Google Scholar
Garcia, B. (1989). “Who Ya Gonna Call If a Ghostbuster’s Proton Pack Breaks? Insurance Helps Hollywood Survive Almost Anything,” Wall Street Journal, August 24.Google Scholar
Gillette, F. (2014). “Don’t Mess this Up: Lego Finally Trusted Warner Bros. to Bring Its Minifigs to the Big Screen,” Bloomberg Businessweek, February 10.Google Scholar
Gimbel, B. (2006). “The Last of the Indies,” Fortune, 154(2)(July 24).Google Scholar
Goldman, W. (1983). Adventures in the Screentrade: A Personal View of Hollywood and Screenwriting. New York: Warner Books.Google Scholar
Gregory, M. (1979). Making Films Your Business. New York: Schocken Books.Google Scholar
Griffin, N. (1993). “How They Built the Bomb: Inside the Last Seven Weeks of ‘Last Action Hero,’” Premiere, September.Google Scholar
Gubernick, L. (1988). “Miss Jones, Get Me Film Finances,” Forbes, 142(14)(December 26).Google Scholar
Gubernick, L., and Lane, R. (1993). “I Can Get It for You Retail,” Forbes, 151(12)(June 7).Google Scholar
Gunther, M. (2006). “Fox the Day after Tomorrow,” Fortune, 153(10)(May 29).Google Scholar
Hanssen, F. A. (2000). “The Block-Booking of Films: A Reexamination,” Journal of Law and Economics, 43(2)(October).Google Scholar
Harmetz, A. (1993). “Five Writers + One Star = A Hit?” New York Times, May 30.Google Scholar
Harmetz, A. (1987). “Hollywood Battles Killer Budgets,” New York Times, May 31.Google Scholar
Hirschberg, L. (1995). “Winning the TV Season,” New York Magazine, July 10.Google Scholar
Hirschhorn, C. (1979). The Warner Bros. Story. New York: Crown Publishing.Google Scholar
Holson, L. M., and Lyman, R. (2002). “In Warner Brothers’ Strategy a Movie Is Now a Product Line,” New York Times, February 11.Google Scholar
Horn, J. (2004). “HBO Emerges as a Mecca for Maverick Filmmakers,” Los Angeles Times, September 19.Google Scholar
Hughes, K. (1990). “Hunt for Blockbusters Has Big Movie Studios in a Spending Frenzy,” Wall Street Journal, May 3.Google Scholar
Jäckel, A. (2003). European Film Industries. London: British Film Institute.Google Scholar
Jayakar, K. P., and Waterman, D. (2000). “The Economics of American Theatrical Movie Exports: An Empirical Analysis,” Journal of Media Economics, 13(3)(July).Google Scholar
Jewell, R. B. (2012). RKO Radio Pictures: A Titan Is Born. Berkeley: University of California Press.Google Scholar
Kanter, J., and Scott, M. (2015). “European Antitrust Case Against U.S. Film Studios and Sky U.K.,” New York Times, July 24.Google Scholar
Kaufman, A. (2008). “Hollywood Meets Bollywood,” Wall Street Journal, May 21.Google Scholar
Kehr, D. (2004). “A Face That Launched a Thousand Chips,” New York Times, October 24.Google Scholar
Kelly, K. (2006). “Getting Man of Steel off the Ground Tests Mettle of Hollywood,” Wall Street Journal, June 23.Google Scholar
Kenney, R. W., and Klein, B. (2000). “How Block Booking Facilitated Self-Enforcing Film Contracts,” Journal of Law and Economics, 42(2)(October).Google Scholar
Kenney, R. W., and Klein, B. (1983). “The Economics of Block Booking,” Journal of Law and Economics, 26(3)(October).Google Scholar
Kerrigan, F. (2010). Film Marketing. Oxford: Butterworth-Heinemann.Google Scholar
Kindem, G., ed. (2000). The International Movie Industry. Carbondale: Southern Illinois University Press.Google Scholar
King, T. R. (1995) “Why Waterworld, with Costner in Fins Is Costliest Film Ever,” Wall Street Journal, January 31.Google Scholar
King, T. R. (1993) “Jurassic Park Offers a High-Stakes Test of Hollywood Synergy,” Wall Street Journal, February 10.Google Scholar
King, T. R., and Bannon, L. (1995). “No Longer Bit Players, Animators Draw Fame as Hollywood Stars,” Wall Street Journal, October 6.Google Scholar
Knowlton, C. (1988). “Lessons from Hollywood Hit Men,” Fortune, 118(5)(August 29).Google Scholar
Koch, N. (1992). “She Lives! She Dies! Let the Audience Decide,” New York Times, April 19.Google Scholar
Lai, K. K. R., and Lee, J. C. (2018). “Box Office Hit or Best Picture at the Oscars? You Can Rarely Have Both,” New York Times, March 3.Google Scholar
Landro, L. (1990a). “Hollywood in Action: Making a Star,” Wall Street Journal, February 16.Google Scholar
Landro, L. (1990b). “‘Godfather III’ Filming Begins after 15 Years and 3 Studio Regimes,” Wall Street Journal, February 9.Google Scholar
Landro, L. (1989). “Sequels and Stars Help Top Movie Studios Avoid Major Risks,” Wall Street Journal, June 6.Google Scholar
Landro, L. (1986). “The Movie ‘Top Gun’ and Deft Management Revive Paramount,” Wall Street Journal, July 14.Google Scholar
Landro, L. (1985). “Movie Partnerships Offer a Little Glitz, Some Risk – and Maybe a Decent Return,” Wall Street Journal, May 20.Google Scholar
Landro, L. (1984). “Frank Mancuso’s Marketing Savvy Paves Ways for Paramount Hits,” Wall Street Journal, June 27.Google Scholar
Landro, L. (1983). “If You Have Always Wanted to Be in Pictures, Partnerships Offer the Chance, but with Risks,” Wall Street Journal, May 23.Google Scholar
Landro, L., and Akst, D. (1987). “Upstart Movie Makers Are Fast Fading Out after a Year’s Showing,” Wall Street Journal, November 3.Google Scholar
Lees, D., and Berkowitz, S. (1981). The Movie Business. New York: Random House (Vintage).Google Scholar
Leonard, D. (2002). “This Is War,” Fortune, 145(11)(May 27).Google Scholar
Lippman, J. (2002). “In Sequel-Crazy Hollywood, Studios Couldn’t Resist ‘T3,’” Wall Street Journal, March 8.Google Scholar
Lippman, J. (1995). “How a Red-Hot Script That Made a Fortune Never Became a Movie,” Wall Street Journal, June 13.Google Scholar
Lyman, R. (2001a). “Hollywood, an Eye on Piracy, Plans Movies for a Fee,” New York Times, August 17.Google Scholar
Lyman, R. (2001b). “Movie Marketing Wizardry,” New York Times, January 11.Google Scholar
Lyman, R. (1999a). “Hollywood’s Holiday Bets,” New York Times, December 6.Google Scholar
Lyman, R. (1999b). “New Digital Cameras Poised to Jolt World of Filmmaking,” New York Times, November 19.Google Scholar
Lyman, R., and Holson, L. M. (2002). “Holidays Now Hottest Season in Hollywood,” New York Times, November 24.Google Scholar
Magnet, M. (1983). “Coke Tries Selling Movies Like Soda Pop,” Fortune, 108(13)(December 26); and also counterpoint by Murphy, A. D. (1983). “In Defining ‘Hit Film’ Economics, ‘Fortune’ Looks in Wrong Eyes,” Variety, December 14.Google Scholar
Mayer, M. F. (1978). The Film Industries: Practical Business/Legal Problems in Production, Distribution, and Exhibition, 2nd ed. New York: Hastings House.Google Scholar
McClintick, D. (1982). Indecent Exposure: A True Story of Hollywood and Wall Street. New York: William Morrow.Google Scholar
Moldea, D. (1986). Dark Victory. New York: Penguin (Viking).Google Scholar
Noglows, P. (1990). “Newcomers Turn Completion Game into Risky Business,” Variety, August 8.Google Scholar
Obst, L. (2013). Sleepless in Hollywood. New York: Simon & Schuster.Google Scholar
O’Neill, K. (1995). “Gumption,” Premiere, 8(8)(April).Google Scholar
Orwall, B. (2002). “At Disney, String of Weak Cartoons Leads to Cost Cuts,” Wall Street Journal, June 18.Google Scholar
Orwall, B. (1998). “Here Is How Disney Tries to Put the ‘Event’ into the Event Film,” Wall Street Journal, June 30.Google Scholar
Orwall, B., and Lippman, J. (1999). “Hollywood, Chastened by High Costs, Finds a New Theme: Cheap,” Wall Street Journal, April 12.Google Scholar
Orwall, B., and Ramstad, E. (2000). “Web’s Reach Forces Hollywood to Rethink America-First Policy,” Wall Street Journal, June 12.Google Scholar
Orwall, B., and Zuckerman, G. (2000). “Regal Cinemas Joined Megaplex Frenzy, Ended Up in Back Row,” Wall Street Journal, September 27.Google Scholar
Peers, M. (2002). “Blockbuster Breaks Away,” Wall Street Journal, April 22.Google Scholar
Porter, E., and Fabrikant, G. (2006). “A Big Star May Not a Profitable Movie Make,” New York Times, August 28.Google Scholar
Rainey, J. (2017). “The Death Throes of Relativity Media,” Variety, 2(January 11).Google Scholar
Rainey, J. (2016). “Costs Run Wild: TV Ad Spending on Films Goes into Orbit,” Variety, 2(March 2).Google Scholar
Rensin, D. (2003). The Mailroom: Hollywood History from the Bottom Up. New York: Random House (Ballantine).Google Scholar
Rose, F. (1999). “A Strategy with a Twist,” Fortune, 139(4)(March 1).Google Scholar
Rose, F. (1996). “This Is Only a Test,” Premiere, August.Google Scholar
Rosen, D. (1990). Off-Hollywood: The Making and Marketing of Independent Films. New York: Grove Press.Google Scholar
Salamon, J. (1991). The Devil’s Candy: The Bonfire of the Vanities Goes to Hollywood. Boston: Houghton Mifflin.Google Scholar
Sanders, P. (2008). “High-Risk Glamour: A Piece of an Indie Flick,” Wall Street Journal, October 6.Google Scholar
Sansweet, S. J. (1982). “Who Does What Film? It Depends on Who Talks to What Agent,” Wall Street Journal, June 23.Google Scholar
Sansweet, S. J., and Landro, L. (1983). “As the Money Rolls In, Movie Makers Discover It Is a Mixed Blessing,” Wall Street Journal, September 1.Google Scholar
Schlender, B. (1995) “Steve Jobs’ Amazing Movie Adventure,” Fortune, 132(6)(September 18).Google Scholar
Schuker, L. A. E. (2010). “Plot Change: Foreign Forces Transform Hollywood Films,” Wall Street Journal, July 31.Google Scholar
Schwartzel, E. (2019). “Entertainment Overload,” Wall Street Journal, February 23.Google Scholar
Schwartzel, E. (2015). “DreamWorks Chief Calls for Rewrite,” Wall Street Journal, March 30.Google Scholar
Scorsese, M. (2019) “The Dying Art of Filmmaking,” New York Times, November 5.Google Scholar
Sherman, S. P. (1986). “A TV Titan Wagers a Wad on Movies,” Fortune, 113(10)(May 12).Google Scholar
Singh, A., and Mohideen, N. (2006). “Bollywood’s New Vibe,” Bloomberg Markets, 15(10)(October).Google Scholar
Singular, S. (1996). Power to Burn: Michael Ovitz and the New Business of Show Business. Secaucus, NJ: Carol Publishing (Birch Lane).Google Scholar
Slater, R. (1997). Ovitz: The Inside Story of Hollywood’s Most Controversial Power Broker. New York: McGraw-Hill.Google Scholar
Sochay, S. (2013). “Split Screens,” The Economist, February 23.Google Scholar
Sochay, S. (1994). “Predicting the Performance of Motion Pictures,” Journal of Media Economics, 7(4).Google Scholar
Spragins, E. (1983). “Son of Delphi,” Forbes, 132(2)(July 18).Google Scholar
Taub, E. (2003). “Digital Projection of Films Is Coming. Now Who Pays?” New York Times, October 13.Google Scholar
Thompson, D. (2017). Hit Makers: The Science of Popularity in an Age of Distraction. New York: Penguin Press.Google Scholar
Turner, R. (1989). “A Hot Movie Studio Gobbles Up the Cash but Produces No Hits,” Wall Street Journal, June 14.Google Scholar
Weinraub, B. (2000). “Tentative Pact Set to Expand Agents’ Power in Hollywood,” New York Times, February 21.Google Scholar
Welkos, R. W. (1996). “Starring in the Biggest Deals in Hollywood: Top Lawyers Rival Agents as Power Brokers,” Los Angeles Times, January 12.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×