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Index
INTRODUCTION Why Journalists Don’t Understand Hollywood
The Popcorn Economy
Ten Years Ago, I Learned the Real Secret is the Salt
Why Do Most New Movie Theaters Have Fewer than 300 Seats?
Sex in the Cinema: Asset or Liability?
The Vanishing Box Office
The Reel Silver Lining
Star Culture
The Contract’s the Thing—If Not for Hamlet, for Arnold Schwarzenegger
Movie Stars Come in Two Flavors: $20 Million and Free
The Angst Question in Hollywood: What Is Your Cash Breakeven?
The Sad Lesson of Nicole Kidman’s Knee—Or What a Star Needs to Get a Part
The Starlet’s Dilemma
There Is No Net
The Video Windfall
Nobody Gets Gross
“I Do My Own Stunts”
Hollywood’s Invisible Money Machine
Why Lara Croft: Tomb Raider Is Considered a Masterpiece of Studio Financing
Money-For-Nothing from Germany
How Does a Studio Make a Windfall out of Being on the Losing Side of a Japanese Format War?
Romancing the Hedge Funds
Ever Wonder Why the US Looks Like Canada in the Movies?
Pushing the Pseudo Reality Envelope
The New Civil War among the States
The Rise and Fall of Pay Television
For Whom Does the Movie Business Toll?
Hollywood Politics
In the Picture
Paranoia for Fun and Profit: The Saga of Fahrenheit 9/11
The Saga Continues
Plus Ça Change: Paramount’s Regime Change
Tom Cruise, Inc.
An Expert Witness in Wonderland
The New Studio System
The Oscar Deception
Teens and Car Crashes Go Together
The Studios—Required Reading
The Midas Formula
You Can’t Make Money on Movies in Theaters
The Foreign Mirage
The Quest for the Digitalized Couch Potato
Unoriginal Sin
The Samurai Embrace
Downloading For Dollars
EPILOGUE The End of the Beginning—Or the End?
Hollywood: The Movie
Are Indie Movies Dead?
The Rise of the Tube Moguls
Trading Analog Dollars for Digital Pennies
APPENDIX Warner Bros. Distribution Report #6 Midnight in the Garden of Good and Evil
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