> But I generate and develop high concepts, and in trying to take the line of least resistance with buyers, that is write a spec script that is a great story and has no negatives [e.g., period piece, tough genre, difficult shoot), I have come up with a story that is all that, plus it's a low-budget project. Scott, would you be interested in writing on what some of the big negatives are for spec (e.g., what constitutes "difficult shoot"), and how to approach writing low budget? It's a topic I'm really interested (I assume I'm not the only one) and I'm finding very little information on it. The big (happy) surprise for me in the analysis is that Best Exotic Marigold Hotel came in as a "smash" while Brave, MIB3 and Looper were only "hits". I would LOVE to see more films like Best Exotic Marigold Hotel. Although I don't expect math or business sense to make films like this easier to pitch... but I would love to be wrong about that, and see some savvy filmmakers start making quality films that appeal to boomers and seniors.

Every year has one or two indie films that become smashes like Best Exotic Marigold Hotel. I think if they made a thousand of them, still only one or two would find an big audience.

Chernobyl Diaries had a budget of 1 million but grossed 37 million. Did the marketing eat up the gross; hence, the movie is classified recoupers? What is the typical marketing budget for an Indie movie, and is there a gross number threshold a production company expects to hit before going forward in production?

[...] mag man streiten können, die Zahlen sprechen aber für sich. Scott Myers sieht sich die Zahlen auf Go Into The Story aus Autorensicht [...]

[...] Go Into The Story Share 2012, Box Office, Filmmaking [...]

[...] mag man streiten können, die Zahlen sprechen aber für sich. Scott Myers sieht sich die Zahlen auf Go Into The Story aus Autorensicht [...]