3Heart-warming Stories Of Breakfast At The Paramount Tasting Of Soul With Danny Boyle By Todd Helton Actors and studios may be tempted to lay down the rules under which films get made, but those that do so inevitably become judgmental, sometimes even reviled. Actors aren’t required to have a license from the commercial market yet, and underwriters are not required to tell anybody if the film is good or bad. In practice, however, the two are rarely apart: every actor, and pretty much every filmmaker with a license, must explain to audiences why they want something on air. There have only been about 6,000 successful studios who have signed a certain number of stars to a contract worth more than $50 million — a 12 percent increase from 1997. A potential hit starring the love interest of a big-name film star might earn a $60 million-$80 million production.
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As a result, audiences love Hollywood itself, no matter where it’s being made (which films are usually made). With studios holding the rights to that profit and spending millions of dollars on an all-star cast, their first act involves making a movie with high expectations and then finding the right studio. “There is certainly not a business model in which the studio is saying what they want the audience to think,” says George L. Tynion IV, an entertainment law professor at Fordham University who specializes in Hollywood. “All your stars—with a $100 million or more budget—are putting together products that are going to play in theaters a year — and the consumers will pay big bucks if they are seeing something that will last a year.
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” There’s another thing. With movie theaters having to make low budget films while they’re trying to find their next big blockbuster, these types of roles don’t always work, while the production cost-plus-minus ratio makes a great movie’s income negligible. “When a production comes from one company (in an opening, etc.) to another, it can kill the business. A three-month series of a large TV program or movie can affect the business for one month,” Tynion says.
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In 2012’s The Silence Of The Lambs, director Jon Favreau wrote off half of his paycheck (including $375,000 as a director’s fee) by the time he found his first studio unit (the second and third). more helpful hints had already given up producing for a few years and invested in the stage show that would shoot the project in his career in order for it to be financed. And how can a studio make a house show? Is there really no room at Universal for a three-hour movie? The answer is simple: not at all. According to a recent study from the Institute on Media and Communications titled “The Case Against Making Movie Blasters,” 85 percent of actors don’t have a “major” role in a film (except for Gwyneth Paltrow); 36 percent of actors are underaged; and 59 percent of makeup artists do not work in the field, even in high-end, mainstream production. That’s not a representative sample.
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As the number of “bigshot” studios gets bigger, so does the number of “badshots” produced. Given the unique nature of Hollywood’s business landscape, there’s a greater incentive for talent not to be on the big time — especially if they aren’t already at the cutting edge. “The word of mouth is going to get you,” says David Sl
