An interesting series so far. What sells a movie -- the story or the stars? I guess we find out tomorrow.

Here's a marketing strategy that seems to work: a good movie with a wide release. NEXT

@Namism: I know the marketing series hasn't been the most scintillating information to come your way. So in all seriousness, is there something in particular screenwriting related you'd like me to cover?

Here's a strong story concept:

On the eve of WWII, a self-doubting private eye on the run for murder fights his five dying senses to find the cure for Blackout Fever, the virus that killed his "victim" and infected his system -- before it strikes Los Angeles senseless.

But it's a scifi noir action flick set in 1939. How would you market it?

@Scott, I'd like to hear your thoughts on suspense, on the "bomb under the table" theory and why it doesn't always work, why uncertainty isn't always necessary, and whether character plays a part,

Did you see Tell No One? The story works in really sparking out interest, but is that same as generating suspense? Whereas the curiosity can be satisfied, isn't suspense.....well, suspended?

Huge fan Scott,

@luzid: I would guess one of the first thoughts to come to the mind of a producer or development executive would by why the WWII setting? Granted Inglourious Basterds did good business and it was set in WWII, but (A) period pieces can really jack up production costs and (B) conventional wisdom is that historical settings are a tough sell to youth audiences. Why not set it in contemporary times?

In terms of marketing it as is: In your mind, who is the audience for this movie? Sci-fi fans? Noir fans? Action fans? If you read the post later today on movie marketing, you'll see where Warner Bros. is baffled how to market Where The Wild Things Are because in part they want to target kids, but the movie isn't aimed at kids, rather at hip young adults. But nobody is really sure how the movie will play with any group, so the ads are targeting basically everybody - costly strategy.

Re your movie: If I were marketing it, I guess I'd go after young males, emphasize the action and (hopefully) its cool visuals, and hope for the best.

@Namism: I haven't seen Tell No One, but based on your recommendation, I'll add it to my list.

Hitchcock's point re the bomb under the table is that if it goes off and the audience doesn't know it's there creates an entirely different psychological experience for the viewer than if they do know the bomb is there. That foreknowledge can play under everything that transpires in the scene until the bomb goes off.

That seems like a pretty simple narrative device and I would imagine hard to screw up. Perhaps the timing of when you reveal the bomb related to what's going on in the scene and when the bomb goes off. But the fundamental point that we, the audience, know (or at least assume) the bomb is going to go off, that should by all logic create a feeling of suspense as we watch and wait... and wait... and wait...

Great reply, Scott. All points well worth considering, especially given that all of my work involves blending genres -- something people have responded to very well given the creativity involved, but that can be a bear to figure out how to market.

But it's the kind of storytelling I love, and isn't that what we should pursue -- writing what we're passionate about? While it may be a tricky pitch, the sheer imagination and uniqueness could pay off with a grand slam.

After all, consider STAR WARS. Nearly everyone passed on what is essentially a scifi fantasy tale, and woe be unto those who did. They missed the boat.

Isn't it true that Inglorious Basterds sold because of the name director and Brad Pitt. Anything Taratino does will sell. By the way, I doubt Taratino ever considering marketing in writing any of his scripts from Reservoir Dogs on. His first ones, Dusk Til Dawn and True Romance, also do not appear to be based on marketing concepts in any way.