Producing : How Can the Movie Industry Thrive Again? Simple: Make 100 Movies a Year That People Want to See by Richard "RB" Botto

I think we need more movies that appeal to underserved audiences, Richard "RB" Botto. To me, that means movies that have exciting/interesting/impactful concepts and movies that people can connect with. And I agree with you. We still have to solve at least a few of the problems you mentioned, like the theatrical window. Some people can't make it to the theaters opening night, opening weekend, etc.

MineCraft Richard "RB" Botto is a great example of what folks want.

Diversity in subject matter is what made this industry spin, Maurice Vaughan. And I believe that's at the crux of what Gleiberman is getting at. More films for more audiences.

Not me, Mark Deuce :)

Tentpoles based on IP will always have their place - and, for that matter, command most of the screens. But give me character driven films any day. And there's a market for it, as prestige TV has proven time and time again.

Richard "RB" Botto, great points! I read the article, and it's very well written, simple, straight to the point, and easy to understand. Making great films is key, but without fixing marketing, theatrical windows , and the cinema experience, it won’t be enough. Shorter windows hurt long-term impact, and without better audience awareness, even great films can struggle. I believe that the theatrical experience requires an upgrade, particularly for original movies, and a return to 45 theatrical days.

Do you think the industry is ready to tackle these issues?

Amazon committing to theatrical, and with an international component, (some) studios admitting that longer theatrical windows lead to higher streaming umbers, more and more filmmakers and producers demanding theatrical, and theater owners shouting from the rooftops that longer windows are a must for survival all indicate a sea change back toward a commitment toward making it happen, Sandra Isabel Correia. Now whether this will be a toe dip or a full body immersion or something in between remains to be seen. I expect to see some commitments to 45 days - not nearly enough, but a start - and when that proves effective, a lengthening from there.

Richard "RB" Botto I really appreciate how you broke it down beyond just “make more movies people want to see.” Gleiberman’s article touches on something that feels obvious yet often overlooked: there is an audience for great storytelling, but the industry needs to re-evaluate how we’re reaching them.

Richard "RB" BottoI think the industry could really benefit from turning theaters into full experiences—bundling tickets with buffet access, arcade coins, or merch perks to make movie nights feel more memorable. Theaters could rotate themes, partner with local food vendors, and create immersive, fair-style setups that attract new crowds. After the film, audiences could rate it, answer quick feedback questions, and help shape future projects. A real-time trending section showing top-rated or most-wanted films would boost discovery and viewer engagement.

Platforms like Stage32 could expand with sections for prequels, spin-offs, or new ideas that audiences can explore and vote on early. Adding a digital or pop-up lounge—for casual Q&As, sneak peeks, or creative drops—would build stronger community bonds and excitement around upcoming projects. These lounges could even appear temporarily around film festivals or global premieres to connect people in real time.

Lastly, I think there’s huge potential in international audience research—especially as English-language content continues to grow in reach. Studios and platforms should study what genres and stories resonate most across cultures to create hybrid concepts that connect globally while still feeling fresh. With AI supporting diverse creators and real-time feedback driving decisions, the future of film could be more collaborative, global, and audience-led than ever before.

Same here Richard "RB" Botto but, MineCraft is catching fire and maybe this is where film is going now.

Richard "RB" Botto Hi RB. An article flashed up on one of my feeds, telling me that Hollywood is making original films, but that no one is going to see them.

We have all read the history of films that couldn't find an audience, but in my mind that’s not a problem of original stories, but of marketing. I’d bet if they were A24 films, those guys would have found their tribe. I also wonder why then, films are greenlit when no one knows where there is an audience for it?

And I am cheering for that RB! I also want to wish a Happy Easter for you and Roma ;)**

I watched two contemporary Sci-Fi films: One by a recent Oscar winning director/writer which was so truly awful I bailed after an hour; the other (one of the most expensive films ever made) was a visual feast yet a real plot-empty slog to endure to the end. Their combined production/P&A budgets is $518 million. An unbelievable half a Billion dollars.

$518M by 100 is about $5M. A hundred far more entertaining and interesting $5M films of all genres could be made. The ROI and risk on a $5M film is obviously far lower.

No wonder Hollywood is sinking into the Pacific. They either don't get it or refuse to. Not every at-bat has to be a grand slam. Singles and doubles win ball games too.

The delivery system of informing and marketing has certainly been damaged and fragmented, Ashley Renee Smith. That's a puzzle to be solved. And it will get solved.

All good points, Dwayne Williams. To the first, many are already doing or working on this. But it needs to be additive, not disruptive. To your last, I can assure you this is happening, almost in a frenzied way.

Been that way forever, Mark Deuce. Big budget IP driven films will never go out of vogue. They're viewed as the safest of bets...until they're not.

As mentioned, it's a lack of awareness that kills these smaller films, Geoff Hall. Traditional marketing channels have been damaged. And the marketing budgets can't support alternative, more expensive outreach.

Same to you, Sandra Isabel Correia!

You'll get no argument from me, E Langley. And, in theory at least, that mentality is starting to take hold in certain pockets.

Richard "RB" Botto granted, but then if marketing budgets can’t support alternative ‘more expensive’ outreach, you’d expect them to look at the likes of A24 and see a less expensive way of marketing a film - one that seems to work! 20th Century Fox seemed to be doing that with The Martian. I’m not sure if any other studio took the bait?

I would say that A24 also has underperforming films as well, Geoff Hall. We can't forget that. But with their hits, they have been able to create advance buzz through creative means and through social media. They crowdsource exceptionally well. And, they've gotten to a point where the A24 brand stands for something. Easier said than done. But it all begins with investing in films people want to see.

Richard "RB" Botto yeah, for sure, they have earned that status. And yes they do invest in films people want to see, but what I like about them most, is that they invest in directors with a singular vision - and of course, yes, I would find that appealing.

The other thing they do is keep the production budgets tight, so if/when they have a box office flop, then it doesn’t put the whole company at risk. What I would love to learn from them, is their business model. Now that would make a great webinar!

Great points, Geoff Hall. I would add that when they acquire films, they don't get out over their skis spending wise. You rarely see them overspend. They know their model and they understand the market better than most.

Richard "RB" Botto Imagine a studio-powered entertainment mall where Netflix, Disney, Apple, A24, and others each have their own branded theaters and immersive zones—all under one roof.

These hubs would feature film premieres, indie film theaters, game launches, VR rooms, and interactive fan experiences—blending cinema, gaming, and storytelling in one destination.

Airlines and airports—especially international ones—could join in by offering in-flight movie premieres, branded lounges, and exclusive broadcast content as part of a global launch strategy.

Studios could start by building these spaces in international markets, where real estate is more affordable and fanbases are growing fast, then expand back to the U.S.

The goal is to replace traditional theaters with creative, studio-controlled spaces that support indie voices, connect fans directly, and make every release a global cultural event.

I thought of the same thing Dwayne Williams where an individual or family can go and sit in peace and quiet alone would be amazing! Great job!

Ma mentor at his best the big RB!see you in Cannes

Movies will come back in full when they respect their audience.

When you go to Burger King and ask for a burger, do they say, "No, hey, wait, you don't want that burger. You should want and like this one better because it deserves to be our best burger." The guy would say, "Dude, you just sold me this burger I liked yesterday no problem, and I want it again, why can't I have it?"

This is what's happening with film. "Here, here's a movie that worked for an exact audience already, now I'm going to take it, re-create it, make it political, and you're expected to like it just as much if not more even though it's not the same product. And if you disagree that we wasted $400 million while other writers were starving, well you're just wrong and angry!"

That shit doesn't work. In an industry where you're selling things and trying to make money, like movies, your audience's opinion is twice as important as yours. It's everything. They're the ones paying you. If you piss them off, say goodbye to success.

I ask you...how many studios or streaming services do you see asking their audience what they want to see and then acting on it? I watch movies each day, yet I'm never asked what I want to watch. I'm force-fed what studios believe I want to watch or SHOULD want to watch.

I'm speaking as a fan, not a writer. It's simple. People want fun, crazy, dramatic, loving, thrilling stories and characters. They don't want people trying to tell them how to lean politically, or ethically, but there's traces of that in every movie nowadays. Almost all of them.

I don't think these people realize it comes across as telling you you're wrong about the world when you're just trying to sit down on your couch after work and enjoy some movie entertainment. That's where they lost everybody. A huge chunk of their audiences felt a certain way and they didn't realize it, yet they still want them to go to the theater and give them money of course.

When I say that I get yelled at or viewed a certain way! Buddy, you're proving my point. You're not listening to me.

You're not listening to your audience.

Been calling for Netflix and Amazon to do this for over a decade, Dwayne Williams. And Netflix has claimed a few. But, for many of the same reasons already expressed here, I wouldn't hold your breath. Yet.

See you there, Darwin Reina! Looking forward to it, my friend.

Its interesting to see how we got to this position. Studios used to spend less on movies and make more daring decisions, because the risk was spread out. But if a top exec needs to justify spending $200+ million on one project to shareholders, they're going to go for a safe bet. Most headlines in the trades about big movies talk about their opening weekend box office or breaking some financial milestone rather than if the movie is actually any good. Hopefully post-strike and post-pandemic behaviours will show audiences fatiguing of soulless "spectacle" and craving good storytelling. The last Oscars had a glimmer of hope with titles like Conclave and A Real Pain making waves, and if the Neons and A24s of the world stay true to their values we may see more movies that occupy the mid-budget range and place good storytelling (and storytellers) above all else.