Research on Bankable Stars in Films

In theory, star queen could account for the ability of a subscribe to draw remarkable considerers in the early part of a chuck up the sponge and so make back part of its production cost, even off if the film fails to make a profit over the retentive term.

This market-centered formula for success does not always work, however, as the moneymaking(prenominal) failure of films featuring bankable stars has demonstrated. Meanwhile, what has been called cinema "counterprogramming" (Doherty 14; Puig F1) does appear to confuse paid off in film attendance figures for films that do not necessarily feature bankable stars. Consider the technical success of Mr. Holland's Opus, grossing $23.1 million, or its original negative cost, by its irregular week of release (Puig F1). To be sure, Richard Dreyfuss, the star of the film, is not an chartless talent; however, the fact that the film was not considered bankable in the Demi Moore sense demonstrates that as far as profit projections ar concerned, the producers of that film argon, at least as matters stand in May 1996, more likely to recoup their investment than be the producers of Striptease. In other words, the advantage of not having to pay a bankable star can be realized in a greater return on investment if the film is successful.

What is relevant fewwhat the commercialized success of Mr. Holland's Opus to the state research is that it is attributed to its ability to reach emotional meaning, irrespective of the performers who are on the screen. T

Another view is that both conversationalists overcome the embarrassment factor by vie the embarrassment; that is, the peculiar feature(s) of the blossoming relationship are the in truth aspect of character that the scene is meant to explore. Thus the embarrassment in this particular scene becomes, for the mantrap, a reason for caring about the fate of the characters.

Thompson, Anne. "Moore Money; Is Demi Moore Worth the Big Bucks? You Betcha." Entertainment Weekly, 10 March 1995 10-11.

In The Truth About Cats and Dogs, the long-distance " brace" takes place between Brian and Abby during a telephone conversation that lasts several(prenominal) hours through the night.

One reviewer balked at this scene as part of a screenplay "rife with implausible plot twists, mistaken characters and bonehead logic a dog wouldn't chase. And there are scenes--a simultaneous climax to a game of phone gender comes to mind--that makes you want to hide under your seat. But Garofalo even overcomes that scene, with whatever hysterical antics that let us know she's as broken to be doing it as we are to be watching" (Mathews F1).

he focus in this research is not on commercial success as such but rather on the emotional connection in The Truth About Cats and Dogs--and the emotional disconnect, so to speak, of Denise Calls Up. Where a connection is made, the principal method of achieving it is to throw a line of action and a cast of characters that gives the viewer something to care about as the fate of the people knobbed hangs in suspense. Now because this seems a relatively easy, not to feel out obvious, argument to make. But The Truth About Cats and Dogs and Denise Calls Up yield a rather crucial test of how such an first step can and cannot succeed, most prominently in the telephone-sex scene in each film.

Denise Calls Up. Dir. Hal Salwen. 1996.

The fact that Denise calls the father, presumably with the object of forming an emotional attachment, initiates some of the action. But by the time
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