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You know what‘s even worse than gut feelings and hunches? Greenlighting processes that are number and „AI“ driven. While there‘s a limited subset of AI like GA

You know what‘s even worse than gut feelings and hunches? Greenlighting processes that are number and „AI“ driven. While there‘s a limited subset of AI like GANs that I‘d actually call creative, the usual tabular models are none of these. So what do you do to maximise chances for a box office success? Do a sequel to (or remake of) a well known movie, hire a star, use the standard playbook (never skip the „all is lost“ moment for dramatic effect) and add a love scene. If you ever wondered why 2020 Hollywood feels like the same boring stuff in 8k UHD over and over again. I think Netflix did pretty well with just hiring some known creative people and telling them „whatever you do, just use your gut feeling and we‘ll buy it“.

sbarre 6y ago
Pretty sure there's lots of viable options between "gut feeling" and "number-driven".. But I get your point, either extreme can potentially produce less than great results.
reedwolf 6y ago
>Do a sequel to (or remake of) a well known movie, hire a star, use the standard playbook (never skip the „all is lost“ moment for dramatic effect) and add a love scene That's been going on since the first wagons rolled into Hollywood. I'm pretty sure even Shakespeare was doing a 16th Century, theatrical equivalent.
- groby_b 6y ago
  Pretty much. There's somewhere between 7-12 story archetypes. We've settled on ~36 different dramatic situations. "All is lost" is quite literally the entire second act in the classic three-act story. That's your toolkit. Build from there. And that' been true since we're telling stories, more or less.
rrrrrrrrrrrryan 6y ago
> I think Netflix did pretty well with just hiring some known creative people and telling them „whatever you do, just use your gut feeling and we‘ll buy it“. Those Netflix decisions about who to hire are extremely data-driven - much moreso than Hollywood. House of Cards was their proof of concept in 2013: > Sarandos says their wealth of data on user viewing habits proved there's a large audience for Fincher, Spacey and political thrillers. https://web.archive.org/web/20130126061225/http://www.huffingtonpost.com/2013/01/24/netflix-show-house-of-cards_n_2545332.html https://web.archive.org/web/20130126061225/http://www.huffin...

sbarre 6y ago

Pretty sure there's lots of viable options between "gut feeling" and "number-driven".. But I get your point, either extreme can potentially produce less than great results.

reedwolf 6y ago

>Do a sequel to (or remake of) a well known movie, hire a star, use the standard playbook (never skip the „all is lost“ moment for dramatic effect) and add a love scene That's been going on since the first wagons rolled into Hollywood. I'm pretty sure even Shakespeare was doing a 16th Century, theatrical equivalent.

groby_b 6y ago
Pretty much. There's somewhere between 7-12 story archetypes. We've settled on ~36 different dramatic situations. "All is lost" is quite literally the entire second act in the classic three-act story. That's your toolkit. Build from there. And that' been true since we're telling stories, more or less.

rrrrrrrrrrrryan 6y ago

> I think Netflix did pretty well with just hiring some known creative people and telling them „whatever you do, just use your gut feeling and we‘ll buy it“. Those Netflix decisions about who to hire are extremely data-driven - much moreso than Hollywood. House of Cards was their proof of concept in 2013: > Sarandos says their wealth of data on user viewing habits proved there's a large audience for Fincher, Spacey and political thrillers. https://web.archive.org/web/20130126061225/http://www.huffingtonpost.com/2013/01/24/netflix-show-house-of-cards_n_2545332.html https://web.archive.org/web/20130126061225/http://www.huffin...