To learn more about his company’s services, visit Nash Information Services.Ĭopyright © 2021 Stephen Follows and Bruce Nash. Nash is the official adjudicator of movie records for the Guinness Book of Records. Times, the New York Times, Variety, the Wall Street Journal, 60 Minutes, and CBS News. Nash provides regular commentary and analysis for media outlets, including the L.A. Nash founded the company in 1997 and it now serves approximately 1,000 clients, from the major studios to first-time independent filmmakers. In addition to film analytics, Stephen is an award-winning writer-producer and runs a production company based in Ealing Studios, London.īruce Nash is founder and President of Nash Information Services, LLC, the premier provider of movie industry data and research services and operator of The Numbers, a web site that provides box office and video sales tracking, and daily industry news. ![]() He acted as an industry consultant and guest on the BBC Radio 4 series The Business of Film, which topped the iTunes podcast chart, and has consulted for a wide variety of clients, including the Smithsonian in Washington. His film research has been featured in the New York Times, The Times, The Telegraph, The Guardian, The Daily Mail, The Mirror, The Evening Standard, Newsweek, The News Statesman, AV Club and Indiewire. Stephen Follows is a writer, producer and film industry analyst. These additional costs have been taken into account in our modelling for producers net profit – it’s only the headline ratio figure in which they are absent. Studios will typically spend money post-acquisition (such as shooting new footage, post-production and music rights) and also on the Prints and Advertising needed to bring the movie to paying audiences. The recoupment ratios are based on the “shot for” budget figure, rather than the final cost of finishing the film ready for commercial distribution.This is because exit poll data is rarely available for lower budget films and so we felt it was better to show the film movie data rather than exclude the section entirely. The UK class data is for all films released in UK cinemas for which there was exit poll data, regardless of budget. ![]() Unless otherwise stated in the text, today’s research focused on all horror films with public budgets between $500,000 and $5 million released in North American cinemas between 1st January 2000 and 31st December 2015.This is significantly better than dramas, of which we estimate only a third make back their total costs. We estimate that just over half of all horror movies released in US cinemas made a profit when all costs have been taken into account. When we widen our focus and broaden our statistical model to look at all movies released, horror appears to be the most profitable of the genres. If we had included it, it would have appeared at the top, with a public-budget-to-estimated-profit ratio of over 20,000%! “Where’s Paranormal Activity?!” you may be thinking This study is focusing on movies budgeted between $500k and $5 million meaning that Paranormal Activity is too inexpensive to be on the list. a film which cost $2 million to make and made a Producers Net Profit of $4 million would show up as having profitability of 200%. In the table below, profitability is expressed as a percentage return on the reported production budget. We are left with a fairly accurate estimation of the Producers Net Profit for each movie.Īt the top of the pile is Saw, which was hugely successful, with a likely profit of well over $130 million on a $1.2 million production budget. This takes into account all income streams (from theatrical through to television syndication) and offsets all costs (including advertising, distribution and fees). Using real-world data and statistical modelling, we are able to estimate the profitability of most major horror movies. Horror Movies Are the Most Profitable Genre
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