Jon S. Alon More like she reads a page or two I guess. If nothing grabs by the third page, it goes to the trash bin. That’s the only way to look at 20-25 scripts in two days. Because out of that pile there will be some that will require more of her time to analyze if it’s a fit or not.

Armakk It may further be worth asking whether they know how to read a script? Not such a silly question, although bound to cause offence. Robert Towne: “You’re torn between wanting to fill in all the spaces and knowing that’s really going to screw the Screenplay. And yet how are you going to communicate it to people who really don’t understand the process?”

Daniel Clee If I had handled this video/panel, then putting aside the platitudes let's get down to what's selling in the market, and there's an easy way to gauge this. How many film posters have the main character brandishing a gun? How many of these male, and how many female? How many gun-toting characters are set in space, wearing police uniforms, wearing cool labels (and therefore presumably the baddie)? How many characters brandish a sword, implying a story set in history? How many characters not brandishing guns or swords but instead looking wistful, implying a "heartfelt" drama? How many of these are male, how many female? How many posters have weirdos in painted, darkened colours, implying teen horror? How many have oversized, over-coloured, smiley characters, implying children's movies? Collectively, this lot probably adds up to 95+ % So all the gumf about "inspiring" script is like, so... yeah... and...? C'mon, let's call a spade a spade: this is an industry - and studios, camera rental, costume hire, etc., all need hiring and maintaining in business, which means inevitably there's going to be a lot of schlock made. And that's fine. But what's not fine is a panel like this making out they're looking out for inspiring, well-written scripts when clearly the results up on screen don't back this up. If the panellists had said something like, "Ok, we have to make a lot of crap because this industry needs to make money... and yet we do remain on the look-out for something special and innovative and most of all inspiring, because that's ultimately how we evolve and remain viable, although let's be clear, by nature of the beast it's a small window, and how we get through and choose from the millions of submissions hoping to clear this window is anyone's guess" ... then this would be an honest place to start.

Daniel Clee And finally, here's my submission for something innovative, inspiring and special... eyes peeled and click around, as it's all here... drum roll, please... danielclee.com/the-willow-tree-introduction.html

Joe Clifford It will do you no good unless you have a great script and producer. Otherwise you are conning investors to buy into a worthless project.

Jack Raymond Can you expand upon this, as although what you say would appear to make sense, in all practicality I'm not sure that it does. An investor either knows the film game or doesn't, and either way they have access to finding out the right metrics & information.

Daniel Clee Nadine said as much in her comments. Not that I agree with her. She speaks from a sales agent's perspective. Regardless of vetting a project in terms of funding and viability of returns, if the project isn't marketable (which she defines as having a known producer and great script - which means attractive to named talent - from her pool of five or ten marketable names) she doesn't find it worth her time.

Jack Raymond Thank you, tbh that's what I kinda thought the vibe was, which then means that we're not learning anything here that we didn't already know... "it's a great script and a Producer with a great track record," and for all these great idea web sites, fund groups, 'new ways of doing things', it still comes down to the money's agenda, which is making money, and that's cool. But to un-Byzantine the process means to stir up things with the gatekeepers (to mix metaphors), and that certainly has not happened here.

Daniel Clee Also there are a wide range of sales agents and distributors. Certainly many are looking for something less than the five or ten top talent names, and known heavy producers. But that likely means you won't see any profit, though they will get their percentage. That may work to help get your name out there. But your investors should be aware that at best, they'll get to walk down your red carpet. And there are always exceptions like Blair Witch. Also sales agents are good resources to check on your projects marketability and what talent or producer could make it work. Then you could go the route of redesigning your project to fit the market. Or your could look at self-distribution.

+bobby Mardis. The services have just launched. Slated.com/analysis/ Script analysis is $495. Financial analysis $995.

Correction, prices are even better than before! And now script analysis is FREE in the bundle!

filmonomics LOVE YOUR VIDEOS! Ready to move forward. At present, have several first place wins, great reviews, recommends, talent interested, including an A-List director, budget and scheduled done by A-List LINE PRODUCER, LOCATIONS scouted, negotiated.. We have LOI's from Film Funds, only slow-up is identifying, vetting financiers. Help:)? [email protected] www.tllewis.net

Richard O'Sullivan -.- You just made great input to the topic.

Funny you should ask... Stay tuned the next couple of weeks ;)

filmonomics I'd love to hear about the service for scripts, being that I'm a produced writer.

Go list a new film now, you might be pleasantly surprised.

filmonomics You say to "Go list a new film now, ..." But I do not see any place on your site to do that. Please explain.

Barbara Kerr Condon to list a film click on "list a new film" in the left hand side of your home screen, or in the drop down on the top right corner of the screen. Once your film is listed you can click on the "script" or "financials" tab and sign up to the new services there.

Albert, although cast is very important, we've found many other variables to be even more important, not the least of which is release pattern and P&A budget. Like studios we analyze hundreds of variables, which leads to countless permutations and combinations of possibilities. Data analysis to help predict outcomes of films is no longer in the real of science fiction. Studios know this, which is why they consistently post record profits despite having some flops. Universal Studios had record profits in 2013 despite not releasing a single franchise film. We believe providing independent filmmakers with some of the same insights Studios are able to garner will help. www.hollywoodreporter.com/news/studio-profitability-report-whos-up-781672

filmonomics The studio business is rooted in Wall Street, global finance and a very complex system of P&L that factors 20-30 years of a film's life. Theatrical releases for studios have an entirely different set of business objectives than those of an independent producer, we can't survive on "studio" economics. Theatrical is a loss-leader for indies, nothing more than qualifying for awards and a small marketing campaign for home entertainment windows. Real P&A is not a reality for most independent productions. Thanks for the response though.

If you focus on cast it's quite easy to predict sales. Just look at the last three films the actor did in the same genre. Then look at the director. That's how the business has been operating since the beginning of time. There is no algorithm needed really... If you get Jason Statham in an action flick your film gets green lit because his returns are so predictable.

Not live yet, just a few more weeks to go! Pricing and all other questions will be answered then.

filmonomics any word on when this will be available?

Go list a new film, you might be pleasantly surprised.

Hi Armakk, good catch! I actually meant the latter, that it's an active market with many distributors picking up films.

Thanks Cassidy!