Main Line Pictures Vs. Kim Basinger Essay

Paramount took advantage of Ms. Marder when they purchased her story. They saw the story as a great investment, especially for the small amount they paid

With the purchase of sequel rights, what Arundel is achieving is to have a call option on the revenue that each movie brings. This helps to remove the uncertainty and risks associated with producing a movie, especially with regard to moviegoers’ taste. With the sequel right, Arundel will only exercise this option to produce a sequel if the first movie proved to be popular and the sequel is hence predicted to bring in profits. This provides downside protection, as huge losses (due to high production costs) associated with a failed movie will be avoided.

3. On the topic of capitalizing line costs, critique the rationale included in CEO Scott Sullivan's

There would still be a net loss in 2006 due to the increase of break-even point, which increased from $7,505 to $8,640.

3. M should record 18.5 millions of dollar as a reduction of the previously recorded loss contingency in 2010.

Film makers use many historical events to spark up and idea for a movie. One historical event that is commonly used is war. One advantage a film maker has when using war as a movie plot is that there is already a lot of drama in war. This may seem like a good advantage for the film maker, however focusing on all of the drama of war leaves much of the actual info. When watching a war movie, you may feel like you have an understanding about the war, but when you really compare a war movie to an actual war you find that there is a lot of factual information left out. One may ask why would directors and film makers leave out the facts of war and focus on the drama? After reading The Faces of Battle by John Keegan and reviewing war movies

1. According to the case, it shows that management of M determined that a loss would be “probable” and the estimate range would be $15 million to $20 million. However, they determined $17 million would be the “most likely” amount of loss.

Arundel can make money selling the rights to a higher bid. Another option to make money is by producing the sequel exercising its rights but this will depend on if the net present value of the production movies is higher than the amount of buying the rights. If the future positive cashflows are undervalued Arundel can seek an arbitrage

Movie marketing is a tricky thing. A movie could be a complete disaster, but if the marketing is done right, the movie will do well. If the movie a delightful, but the marketing is done badly, the movie could bomb and cost the studio a lot of money. I’ve seen it happen a lot over the years. Remember that movie John Carter? That movie cost a LOT of money to produce. I saw the movie since I already read the books and knew from what I saw that it was going to be a fun film to watch, but from a marketing standpoint, and having been a marketing major in college, I knew the movie was going to bomb. Why? No one knew what the hell it was about or who the hell John Carter was.

The comparison of revenues for Basinger films with revenues for Fenn films is another irrelevant issue. It is easy to determine that the

FILM NOTE -- Sarah's Key, directed by Gilles Paquet-Brenner, starring Kristin Scott Thomas, Melusine Mayance, Niels Arestrup, Frederic Pierrot

They both made $363 million for one film. At first, Twenty Century Fox used to keep 60% of the earnings. The world was impacted deeply because of Georges movies.

Comparing the Use of Images in The Other Wife and The Story of an Hour

these films weren’t huge in terms of money, but they were critically acclaimed. Perhaps they weren’t especially popular, but in terms of filmmaking they were impeccable, warranting their featuring on the list. As can be seen in the graph above, when given groups based on ratings, the data isn’t entirely conclusive. While the two highest rated 9/10 films were included in the group beneath 150 million US dollars profit, there were also some 7-7.9/10 films in the group. On top of this, there was a majority of 8-8.9/10 films in both the groups (150 million US dollars profit or less and 230 million US dollars profit or more). So the rating split wasn’t hugely successful, this is possibly because films can have a cultural impact because of critical

According to the legal analysis of the contract between Goliath Productions and Giant Theatres, there are strong indications that there was a contract breach. Even though there was strong indications of a contract breach, Abrams Advisory Group did financial analyses of the contract for the fiscal year 2006. First, the expected minimum revenue for the Giant Theatres contract is $32,075,000. Second, by using G.A.A.P., the revenue recognized for the fiscal year of 2006 is $8,795,833. Third, the cash-flow recognized for the fiscal year 2006 is $5,000,000.