Based on the number of movies you’ve seen recently, did you get the impression that there was more sexual content or less? This is a very subjective thing, of course, and it depends on the types of movies you’re watching, but if you want to know the exact number, a recent study might provide you with the answers you are looking for. A study published on the site of Stephen Follows provides us with these answers and the numbers actually confirm that there is a significant decline in the amount of sexual content in movies.
In the paragraphs below, we are going to analyze these numbers for you and provide you with the most important facts and calculations you need to know, as well as dive into the bigger picture and the causes of this phenomenon.
If you’ve seen last year’s Poor Things, May December, or Saltburn,...
In the paragraphs below, we are going to analyze these numbers for you and provide you with the most important facts and calculations you need to know, as well as dive into the bigger picture and the causes of this phenomenon.
If you’ve seen last year’s Poor Things, May December, or Saltburn,...
- 5/3/2024
- by Arthur S. Poe
- Fiction Horizon
Since the millennium, there is substantially less erotic content on our screens – with changing audience tastes and ‘intimacy coordinators’ to blame
The advent of explicit films such as Poor Things, Saltburn and All of Us Strangers has been heralded as marking a revival of sex on screen – in the face of a reported lack of interest from Gen Z audiences. However, a new report suggests that in fact the Hollywood sex scene is declining fast: there is almost 40% less sexual content in major films than there was at the start of the millennium.
Commissioned by the Economist from data analyst Stephen Follows, the report assembled data on the 250 highest-grossing films each year since 2000, and found movies released in 2023 had just over 60% of the erotic content found in the top 250 in 2000. Broken down by genre, the decline was steepest in action movies (a drop of approximately 70% over the same period) – while...
The advent of explicit films such as Poor Things, Saltburn and All of Us Strangers has been heralded as marking a revival of sex on screen – in the face of a reported lack of interest from Gen Z audiences. However, a new report suggests that in fact the Hollywood sex scene is declining fast: there is almost 40% less sexual content in major films than there was at the start of the millennium.
Commissioned by the Economist from data analyst Stephen Follows, the report assembled data on the 250 highest-grossing films each year since 2000, and found movies released in 2023 had just over 60% of the erotic content found in the top 250 in 2000. Broken down by genre, the decline was steepest in action movies (a drop of approximately 70% over the same period) – while...
- 5/2/2024
- by Andrew Pulver
- The Guardian - Film News
It’s not your imagination: The amount of sex in movies has dropped sharply this century.
Despite a streaming boom, which has more content distributors with permissive content boundaries than ever before, a new study finds sex in film has declined dramatically since 2000.
A study by film data analyst Stephen Follows cited by The Economist that tracked sex and nudity in major live-action films — with each instance ranked on a scale from “none” to “severe” — found the level of sex content in cinema has fallen by almost 40 percent. The number of films with no sexual content at all has risen from 20 percent per year to roughly 50 percent.
On the other hand, some of the scenes that are shown in movies nowadays are more graphic than what was permitted in the past. Examples cited include erect penises (in movies like May December) and characters performing oral sex while their partners were menstruating (Saltburn,...
Despite a streaming boom, which has more content distributors with permissive content boundaries than ever before, a new study finds sex in film has declined dramatically since 2000.
A study by film data analyst Stephen Follows cited by The Economist that tracked sex and nudity in major live-action films — with each instance ranked on a scale from “none” to “severe” — found the level of sex content in cinema has fallen by almost 40 percent. The number of films with no sexual content at all has risen from 20 percent per year to roughly 50 percent.
On the other hand, some of the scenes that are shown in movies nowadays are more graphic than what was permitted in the past. Examples cited include erect penises (in movies like May December) and characters performing oral sex while their partners were menstruating (Saltburn,...
- 5/2/2024
- by James Hibberd
- The Hollywood Reporter - Movie News
Here’s the latest episode of The Filmmakers Podcast, part of the podcast roster here on Nerdly. If you haven’t heard the show yet, you can check out previous episodes on the official podcast site, whilst we’ll be featuring each and every new episode as it premieres.
For those unfamiliar with the series, The Filmmakers Podcast is a podcast about how to make films from micro-budget indie films to bigger-budget studio films and everything in between. Our hosts Giles Alderson, Dom Lenoir, Dan Richardson, Andrew Rodger and Cristian James talk about how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their filmmaking experiences from directors, writers, producers and screenwriters, to actors, cinematographers and distributors.
The Filmmaker’s Podcast #373: Filmmaking Wrap Up of 2023 with Giles Alderson,...
For those unfamiliar with the series, The Filmmakers Podcast is a podcast about how to make films from micro-budget indie films to bigger-budget studio films and everything in between. Our hosts Giles Alderson, Dom Lenoir, Dan Richardson, Andrew Rodger and Cristian James talk about how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their filmmaking experiences from directors, writers, producers and screenwriters, to actors, cinematographers and distributors.
The Filmmaker’s Podcast #373: Filmmaking Wrap Up of 2023 with Giles Alderson,...
- 1/2/2024
- by Phil Wheat
- Nerdly
Here’s the latest episode of The Filmmakers Podcast, part of the podcast roster here on Nerdly. If you haven’t heard the show yet, you can check out previous episodes on the official podcast site, whilst we’ll be featuring each and every new episode as it premieres.
For those unfamiliar with the series, The Filmmakers Podcast is a podcast about how to make films from micro-budget indie films to bigger-budget studio films and everything in between. Our hosts Giles Alderson, Dom Lenoir, Dan Richardson, Andrew Rodger and Cristian James talk about how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their filmmaking experiences from directors, writers, producers and screenwriters, to actors, cinematographers and distributors.
The Filmmaker’s Podcast #368: Business of Film 5 – The Strikes are Over!
For those unfamiliar with the series, The Filmmakers Podcast is a podcast about how to make films from micro-budget indie films to bigger-budget studio films and everything in between. Our hosts Giles Alderson, Dom Lenoir, Dan Richardson, Andrew Rodger and Cristian James talk about how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their filmmaking experiences from directors, writers, producers and screenwriters, to actors, cinematographers and distributors.
The Filmmaker’s Podcast #368: Business of Film 5 – The Strikes are Over!
- 12/4/2023
- by Phil Wheat
- Nerdly
Have we finally reached peak blockbuster running time? In the last year alone, the space has been flooded with kidney-testing lengths — “Killers of the Flower Moon” (206 minutes and no intermissions allowed!), “Avatar: The Way of Water” (192 minutes), “Oppenheimer” (180 minutes), “John Wick: Chapter 4” and “Taylor Swift: The Eras Tour” (both 169 minutes), and “Mission: Impossible — Dead Reckoning Part 1” (163 minutes) — but there are some signs that this particular worm has turned.
The most significant example is this week’s release of “The Marvels” (Disney), which is the shortest film in MCU history at “only” 105 minutes. “Avengers: Endgame,” MCU’s biggest hit, clocked in at 181 minutes. The four most recent MCU franchise entries were 126 minutes or fewer, with “Thor: Love and Thunder” under two hours. In all, eight MCU films were less than two hours, which makes the difference a matter of degree.
“The Marvels” director Nia DaCosta, whose two previous features were...
The most significant example is this week’s release of “The Marvels” (Disney), which is the shortest film in MCU history at “only” 105 minutes. “Avengers: Endgame,” MCU’s biggest hit, clocked in at 181 minutes. The four most recent MCU franchise entries were 126 minutes or fewer, with “Thor: Love and Thunder” under two hours. In all, eight MCU films were less than two hours, which makes the difference a matter of degree.
“The Marvels” director Nia DaCosta, whose two previous features were...
- 11/9/2023
- by Tom Brueggemann and Dana Harris-Bridson
- Indiewire
Here’s the latest episode of the The Filmmakers Podcast, part of the ever-growing podcast roster here on Nerdly. If you haven’t heard the show yet, you can check out previous episodes on the official podcast site, whilst we’ll be featuring each and every new episode as it premieres.
For those unfamiliar with the series, The Filmmakers Podcast is a podcast about how to make films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors.
The Filmmaker’s Podcast #339: The Business of Film Explained III : How...
For those unfamiliar with the series, The Filmmakers Podcast is a podcast about how to make films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors.
The Filmmaker’s Podcast #339: The Business of Film Explained III : How...
- 5/22/2023
- by Phil Wheat
- Nerdly
The film industry can be a daunting, mysterious place, even to those who’ve worked within it for years. Nonetheless, for aspiring filmmakers, producers and screenwriters, knowing what works and doesn’t can often be half the battle. This makes access to good, reliable data absolutely essential. But in an industry where art means commerce and the success of certain films can often baffle the experts, can we rely on data 100%? The man to ask all of these questions and many more is Producer/Film Data Researcher Stephen Follows, whose Film Education and Data website is an essential source for both creatives and industry insiders – breaking down the numbers behind questions such as the nitty-gritty costs of making a film, the gender breakdown of different genres and how film festivals actually work. We talked to him about the tools for success in the industry, how data exposes systemic inequalities and...
- 5/11/2023
- by Redmond Bacon
- Directors Notes
Here’s the latest episode of the The Filmmakers Podcast, part of the ever-growing podcast roster here on Nerdly. If you haven’t heard the show yet, you can check out previous episodes on the official podcast site, whilst we’ll be featuring each and every new episode as it premieres.
For those unfamiliar with the series, The Filmmakers Podcast is a podcast about how to make films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors.
The Filmmaker’s Podcast #331: The Business of Film Explained II : How...
For those unfamiliar with the series, The Filmmakers Podcast is a podcast about how to make films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors.
The Filmmaker’s Podcast #331: The Business of Film Explained II : How...
- 3/27/2023
- by Phil Wheat
- Nerdly
Here’s the latest episode of the The Filmmakers Podcast, part of the ever-growing podcast roster here on Nerdly. If you haven’t heard the show yet, you can check out previous episodes on the official podcast site, whilst we’ll be featuring each and every new episode as it premieres.
For those unfamiliar with the series, The Filmmakers Podcast is a podcast about how to make films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors.
The Filmmaker’s Podcast #317: The Business of Film Explained
What percentage of directors,...
For those unfamiliar with the series, The Filmmakers Podcast is a podcast about how to make films from micro budget indie films to bigger budget studio films and everything in-between. Our hosts Giles Alderson, Dan Richardson, Andrew Rodger and Cristian James talk how to get films made, how to actually make them and how to try not to f… it up in their very humble opinion. Guests will come on and chat about their film making experiences from directors, writers, producers, screenwriters, actors, cinematographers and distributors.
The Filmmaker’s Podcast #317: The Business of Film Explained
What percentage of directors,...
- 1/16/2023
- by Phil Wheat
- Nerdly
Private equity investors in indie movies “might as well throw their money down a rat hole.” Those words of warning from the late Jake Eberts (“Driving Miss Daisy”) continue to send a shudder down the spines of the unrecouped. Indeed, the industry motto that “you never get net” remains as prescient as ever.
As industryites takes meetings and nosh in Santa Monica during the AFM, they acknowledge three key factors that have dented the prospects of recouping equity: The first is the demise of previously semi-reliable ancillary revenues via DVD and free TV since the financial crisis of 2009. The second is the disappearance of any back-end sharing of platform profits given the SVOD business model; and the third is less choice due to the steamroller of original commissioning by the streamers. Talent is being signed up at such speed and scale that slim pickings remain for indie producers to put their best packages forward,...
As industryites takes meetings and nosh in Santa Monica during the AFM, they acknowledge three key factors that have dented the prospects of recouping equity: The first is the demise of previously semi-reliable ancillary revenues via DVD and free TV since the financial crisis of 2009. The second is the disappearance of any back-end sharing of platform profits given the SVOD business model; and the third is less choice due to the steamroller of original commissioning by the streamers. Talent is being signed up at such speed and scale that slim pickings remain for indie producers to put their best packages forward,...
- 11/1/2022
- by Angus Finney
- Variety Film + TV
Dozens of college students who paid on average 4,000 apiece for the privilege of interning at the Cannes Film Festival mainstay American Pavilion were unpleasantly surprised by broken promises, cramped living conditions, long, unpaid hours at menial jobs and exposure to inappropriate behavior, according to a new report.
Every year, the American Pavilion’s student program recruits more than 200 college students eager for experience and networking opportunities at the longstanding home-away-from-home for American film industryites attending Cannes. According to a report by blogger Stephen Follows, a film industry data researcher and screenwriter, many were highly disillusioned by the experience, which they said failed miserably to live up to what they were sold and often put students in perilous situations.
A spokesperson for The Pavilion told TheWrap they’ve reached out to Follows “to correct the many mischaracterizations of our student program … including the suggestions about French labor law that are false and defamatory.
Every year, the American Pavilion’s student program recruits more than 200 college students eager for experience and networking opportunities at the longstanding home-away-from-home for American film industryites attending Cannes. According to a report by blogger Stephen Follows, a film industry data researcher and screenwriter, many were highly disillusioned by the experience, which they said failed miserably to live up to what they were sold and often put students in perilous situations.
A spokesperson for The Pavilion told TheWrap they’ve reached out to Follows “to correct the many mischaracterizations of our student program … including the suggestions about French labor law that are false and defamatory.
- 5/26/2022
- by Josh Dickey
- The Wrap
Growing up in the ’90s, my friends and I always dreamed of becoming movie stars. Was it because we were raised with “Sister Sister” on our TVs and “Lizzie McGuire” posters on our walls? I can’t help but think that seeing actresses on the Disney Channel, who looked and acted like me and my friends, made us feel like we could have TV shows of our own one day too.
But what happens when you don’t see yourself represented in an industry or career — like Hollywood stunts? In 2017, a study released by film researcher Stephen Follows revealed out of 7,303 movies released between 2000-2016, women made up less than 15% of stunt professionals. That percentage is even smaller when race is factored in. Did my friends and I never talk about becoming stuntwomen because we didn’t think we could?
Luckily, renowned stuntwoman La Faye Baker is here to kick down some major glass ceilings…...
But what happens when you don’t see yourself represented in an industry or career — like Hollywood stunts? In 2017, a study released by film researcher Stephen Follows revealed out of 7,303 movies released between 2000-2016, women made up less than 15% of stunt professionals. That percentage is even smaller when race is factored in. Did my friends and I never talk about becoming stuntwomen because we didn’t think we could?
Luckily, renowned stuntwoman La Faye Baker is here to kick down some major glass ceilings…...
- 4/1/2021
- by Emily Vogel
- The Wrap
A new survey of 363 people working across the film industry shows wide support for shortening — and to a lesser degree, even eliminating — the exclusive 90-day theatrical window.
Conducted by film data researcher Stephen Follows and in-theater advertising company Screendollars, the survey posed a number of questions about the future of exhibition that have been front-of-mind for many during the pandemic.
The survey polled a wide range of respondents including people working in development, production, and post-production (“filmmakers”); sales, distribution, and marketing executives; exhibitors; home entertainment, TV, and VOD; and an “other” group that included educators, government officials, festival organizers and journalists.
Among the groups surveyed, the filmmakers’ group was the least supportive of the pre-covid-19 status quo. Results also suggest many segments of the industry are eager to continue pandemic-era experiments in distribution, while theater owners continue to hold on to traditional distribution methods.
Among those surveyed, the filmmakers group...
Conducted by film data researcher Stephen Follows and in-theater advertising company Screendollars, the survey posed a number of questions about the future of exhibition that have been front-of-mind for many during the pandemic.
The survey polled a wide range of respondents including people working in development, production, and post-production (“filmmakers”); sales, distribution, and marketing executives; exhibitors; home entertainment, TV, and VOD; and an “other” group that included educators, government officials, festival organizers and journalists.
Among the groups surveyed, the filmmakers’ group was the least supportive of the pre-covid-19 status quo. Results also suggest many segments of the industry are eager to continue pandemic-era experiments in distribution, while theater owners continue to hold on to traditional distribution methods.
Among those surveyed, the filmmakers group...
- 5/24/2020
- by Chris Lindahl
- Indiewire
New research on independent features made in 2017 offers encouraging news for aspiring filmmakers: Three in five independent films made that year got some sort of theatrical release. The not-so-good news? Very few made substantial money at the box office.
Those findings came from a deep dive into all narrative non-studio films distributed made in 2017 conducted by Bruce Nash, whose company operates The Numbers, and producer and analyst Stephen Follows. The American Film Market published their article ahead of its annual event in November.
The researchers offered three release outcomes that together accounted for 60.4% of all movies shot in 2017.
Nominal releases (35.3%): movies that have theatrical release dates, but reported no box office figures. This could happen when a filmmaker rents a theater to show their movie to a small audience, for example. Small releases (8.1%): movies that reported grosses up to $100,000 Large releases (17%): movies that reported grosses over $100,000
The...
Those findings came from a deep dive into all narrative non-studio films distributed made in 2017 conducted by Bruce Nash, whose company operates The Numbers, and producer and analyst Stephen Follows. The American Film Market published their article ahead of its annual event in November.
The researchers offered three release outcomes that together accounted for 60.4% of all movies shot in 2017.
Nominal releases (35.3%): movies that have theatrical release dates, but reported no box office figures. This could happen when a filmmaker rents a theater to show their movie to a small audience, for example. Small releases (8.1%): movies that reported grosses up to $100,000 Large releases (17%): movies that reported grosses over $100,000
The...
- 9/29/2019
- by Chris Lindahl
- Indiewire
On June 3, when Sundance begins accepting submissions for its 2020 festival, filmmakers will use FilmFreeway to handle their submissions. Through 2022, he Sundance Institute has entered an exclusive agreement with five-year-old company to handle all festival submissions.
Sundance’s fall deadline serves as the unofficial start of festival submission season, quickly followed by deadlines for SXSW and Tribeca. It’s a major win for FilmFreeway, solidifying the company’s position as the new industry leader in the wake of Withoutabox owner IMDb announcing that it would disable the platform on September 16, 2019.
“Our team has worked sometimes, quite literally, around the clock building FilmFreeway,” said Zachary Jones, FilmFreeway Cto and co-founder. “For Sundance to select FilmFreeway as its exclusive provider is just a dream come true for us.”
It’s a remarkable trajectory for FilmFreeway, which began as a four-person shop taking on the Amazon- and IMDb-owned Withoutabox, which revolutionized film festivals...
Sundance’s fall deadline serves as the unofficial start of festival submission season, quickly followed by deadlines for SXSW and Tribeca. It’s a major win for FilmFreeway, solidifying the company’s position as the new industry leader in the wake of Withoutabox owner IMDb announcing that it would disable the platform on September 16, 2019.
“Our team has worked sometimes, quite literally, around the clock building FilmFreeway,” said Zachary Jones, FilmFreeway Cto and co-founder. “For Sundance to select FilmFreeway as its exclusive provider is just a dream come true for us.”
It’s a remarkable trajectory for FilmFreeway, which began as a four-person shop taking on the Amazon- and IMDb-owned Withoutabox, which revolutionized film festivals...
- 5/31/2019
- by Chris O'Falt
- Indiewire
Greer Simpkin and Joanna Werner.
The percentage of female feature film producers in Australia is already well above the global average, a new report reveals, and is continuing to improve.
But female representation in features is still well short of gender parity despite tangible results from Screen Australia’s Gender Matters initiative.
“Industry wide in Australia there has been an increase in female producers working in feature films,” says Werner Film Productions’ Joanna Werner, a member of the Gender Matters Taskforce. “We’re seeing a lot of female producers active in major forthcoming features including Top End Wedding, Palm Beach, Relic, The Nightingale and Little Monsters.
“There is no denying that since the launch of the Gender Matters initiative positive steps have been made to address gender parity in the sector. In 2017/18 Screen Australia hit our Gender Matters Kpi for the first time and in August this year we’ll...
The percentage of female feature film producers in Australia is already well above the global average, a new report reveals, and is continuing to improve.
But female representation in features is still well short of gender parity despite tangible results from Screen Australia’s Gender Matters initiative.
“Industry wide in Australia there has been an increase in female producers working in feature films,” says Werner Film Productions’ Joanna Werner, a member of the Gender Matters Taskforce. “We’re seeing a lot of female producers active in major forthcoming features including Top End Wedding, Palm Beach, Relic, The Nightingale and Little Monsters.
“There is no denying that since the launch of the Gender Matters initiative positive steps have been made to address gender parity in the sector. In 2017/18 Screen Australia hit our Gender Matters Kpi for the first time and in August this year we’ll...
- 4/17/2019
- by The IF Team
- IF.com.au
Kriv Stenders on the Mumbai set of ‘Jack Irish’ last year (Photo credit: Martin McGrath)
Kriv Stenders has an enviable track record as the director of both Red Dog hits, The Principal, The Pacific: In the wake of Captain Cook with Sam Neill (co-directed with Sally Aitken), The Go-Betweens: Right Here and episodes of Jack Irish, Doctor Doctor and Hunters.
But even he acknowledges it took him 10 years to make his first feature – which he self-funded – and he has had his share of failures.
Currently in post on his Vietnam War movie Danger Close: The Battle of Long Tan for producers Martin Walsh and John and Michael Schwarz, Stenders shared his experiences to encourage directors who are struggling to make their first or second features.
He was responding to a ground-breaking study by UK analyst Stephen Follows, reported by If, which shows far fewer directors in Australia get the chance to make their second feature,...
Kriv Stenders has an enviable track record as the director of both Red Dog hits, The Principal, The Pacific: In the wake of Captain Cook with Sam Neill (co-directed with Sally Aitken), The Go-Betweens: Right Here and episodes of Jack Irish, Doctor Doctor and Hunters.
But even he acknowledges it took him 10 years to make his first feature – which he self-funded – and he has had his share of failures.
Currently in post on his Vietnam War movie Danger Close: The Battle of Long Tan for producers Martin Walsh and John and Michael Schwarz, Stenders shared his experiences to encourage directors who are struggling to make their first or second features.
He was responding to a ground-breaking study by UK analyst Stephen Follows, reported by If, which shows far fewer directors in Australia get the chance to make their second feature,...
- 2/24/2019
- by The IF Team
- IF.com.au
Jessica McNamee stars in Heath Davis’ ‘Locusts’.
Far fewer directors in Australia get the chance to make their second feature, or more, than the global average.
According to a new, ground-breaking study of worldwide trends by UK analyst Stephen Follows, while 63.5 per cent of directors have one feature film credit, 36.5 per cent made a second feature.
Just 8.6 per cent directed more than five and only 0.1 per cent have more than 20 feature credits.
By comparison, Screen Australia’s most recent research found 62 per cent of directors had one credit in the five years to June 2017 and 44 of the 144 surveyed – 19 per cent – had made a second feature.
Broken down by gender, that equated to 42 male directors (22 per cent) and just two women (6 per cent). Some 8 per cent had three credits, 4 per cent had four and 7 per cent had 5-plus.
(Source: stephenfollows.com)
To be fair, Screen Australia’s research is a relatively...
Far fewer directors in Australia get the chance to make their second feature, or more, than the global average.
According to a new, ground-breaking study of worldwide trends by UK analyst Stephen Follows, while 63.5 per cent of directors have one feature film credit, 36.5 per cent made a second feature.
Just 8.6 per cent directed more than five and only 0.1 per cent have more than 20 feature credits.
By comparison, Screen Australia’s most recent research found 62 per cent of directors had one credit in the five years to June 2017 and 44 of the 144 surveyed – 19 per cent – had made a second feature.
Broken down by gender, that equated to 42 male directors (22 per cent) and just two women (6 per cent). Some 8 per cent had three credits, 4 per cent had four and 7 per cent had 5-plus.
(Source: stephenfollows.com)
To be fair, Screen Australia’s research is a relatively...
- 2/20/2019
- by The IF Team
- IF.com.au
Studios, producers and agencies receive countless spec scripts – original feature length screenplays that weren’t the product of a paid writing assignment. To filter through hundreds and thousands of submissions to determine which are worth considering, or to identify writers with potential, the industry hires professional script readers to rate scripts.
The readers who write “coverage” can play a vital role in screenwriters’ prospects, but what do they think makes for a good script? One the industry’s leading data scientists, Stephen Follows, has attempted to answer this exact question in a year long study, using data from the coverage scores of 12,309 feature film screenplays, that resulted in a 65-page report that is being published today.
The scripts analyzed were a mix, from amateurs to award winners, all of which were submitted to Screencraft – a service used by screenwriters to submit to contests, fellowships, or pay to have their script covered.
The readers who write “coverage” can play a vital role in screenwriters’ prospects, but what do they think makes for a good script? One the industry’s leading data scientists, Stephen Follows, has attempted to answer this exact question in a year long study, using data from the coverage scores of 12,309 feature film screenplays, that resulted in a 65-page report that is being published today.
The scripts analyzed were a mix, from amateurs to award winners, all of which were submitted to Screencraft – a service used by screenwriters to submit to contests, fellowships, or pay to have their script covered.
- 1/30/2019
- by Chris O'Falt
- Indiewire
When the 9th annual Durban FilmMart (Dfm) kicks off on July 20, with a busy four-day program running parallel to the Durban Int’l. Film Festival (Diff), organizers will be looking to build on nearly a decade of steady growth at the continent’s leading finance forum, and the premier springboard for African filmmakers launching into the international marketplace.
“One of the key objectives in establishing Durban FilmMart was to create a platform for African filmmakers to connect with the global markets,” said Toni Monty, head of the Durban Film Office, which jointly organizes the Dfm along with Diff and the eThekwini Municipality. “Durban FilmMart, however, can only take them so far. We work with partner markets in identifying projects that are ready to be exposed to international markets, so in this sense, in many respects, Dfm acts as an introduction and entry point for these filmmakers.”
16 African projects, evenly split between fiction and documentary,...
“One of the key objectives in establishing Durban FilmMart was to create a platform for African filmmakers to connect with the global markets,” said Toni Monty, head of the Durban Film Office, which jointly organizes the Dfm along with Diff and the eThekwini Municipality. “Durban FilmMart, however, can only take them so far. We work with partner markets in identifying projects that are ready to be exposed to international markets, so in this sense, in many respects, Dfm acts as an introduction and entry point for these filmmakers.”
16 African projects, evenly split between fiction and documentary,...
- 7/18/2018
- by Christopher Vourlias
- Variety Film + TV
Only 36% of accredited film buyers at this year’s Cannes Marché were women, a new study on the sales and acquisitions sector has revealed.
The study, commissioned by UK gender equality campaign group Birds’ Eye View, claims that women only accounted for 32% of “high status” professionals (or “key decision-makers” with buyers badges) accredited at the Cannes, Berlin and Afm markets between 2009 to 2018.
High-status employees are defined in the report as having roles such as CEOs and company directors. The report defines mid-status jobs as heads of departments and managers, and low-status jobs as interns, assistant and coordinators. Women accounted for 64 percent of low-status employees and 51 percent of mid-status employees over the 10-year period.
Of the UK professionals with “high status” jobs who attended film markets over the past 10 years, 70% were male. Of the other countries monitored: the Russian and Chinese film sales industries have an almost equal number of men...
The study, commissioned by UK gender equality campaign group Birds’ Eye View, claims that women only accounted for 32% of “high status” professionals (or “key decision-makers” with buyers badges) accredited at the Cannes, Berlin and Afm markets between 2009 to 2018.
High-status employees are defined in the report as having roles such as CEOs and company directors. The report defines mid-status jobs as heads of departments and managers, and low-status jobs as interns, assistant and coordinators. Women accounted for 64 percent of low-status employees and 51 percent of mid-status employees over the 10-year period.
Of the UK professionals with “high status” jobs who attended film markets over the past 10 years, 70% were male. Of the other countries monitored: the Russian and Chinese film sales industries have an almost equal number of men...
- 6/13/2018
- by Andreas Wiseman
- Deadline Film + TV
Study reveals under-representation of women at Efm, Cannes and the Afm.
A report has revealed the gender split of attendees at three of the world’s most significant film markets, the Efm in Berlin, the Cannes Marche du Film, and the American Film Market.
Only 35% of ‘high-status employees’ (i.e. decision makers) attending major markets were women in 2018, according to the report commisisioned by UK-based campainging agency Birds’ Eye View.
The figure has risen from 28% in 2009, and the average figure was 22% over the 10-year period between 2009-2018.
The report notes, “on the face of it, this [the figure] is encouraging” because it...
A report has revealed the gender split of attendees at three of the world’s most significant film markets, the Efm in Berlin, the Cannes Marche du Film, and the American Film Market.
Only 35% of ‘high-status employees’ (i.e. decision makers) attending major markets were women in 2018, according to the report commisisioned by UK-based campainging agency Birds’ Eye View.
The figure has risen from 28% in 2009, and the average figure was 22% over the 10-year period between 2009-2018.
The report notes, “on the face of it, this [the figure] is encouraging” because it...
- 6/13/2018
- by Tom Grater
- ScreenDaily
The Sundance Institute has renewed its exclusive agreement with IMDbPro’s Withoutabox to handle its festival submissions for an additional three years, the two companies announced today. For the last 10 years, the festival has relied on Withoutabox to process more than 100,000 submissions of features, shorts, episodic content, and virtual reality experiences.
“We have chosen to extend our exclusive relationship with IMDbPro’s Withoutabox through 2021 because they have proven to be a supportive and responsive collaborator,” said Keri Putnam, executive director of Sundance Institute. “Our submissions continue to increase in both number and quality year after year, helping us to discover and connect with a vibrant and diverse community of independent storytellers all over the world.”
In recent years, Withoutabox — a division of IMDb, which is owned by Amazon — has placed a premium on locking up festivals to long-term agreements that shut out competitors like FilmFreeway, which doesn’t push for festival exclusivity.
“We have chosen to extend our exclusive relationship with IMDbPro’s Withoutabox through 2021 because they have proven to be a supportive and responsive collaborator,” said Keri Putnam, executive director of Sundance Institute. “Our submissions continue to increase in both number and quality year after year, helping us to discover and connect with a vibrant and diverse community of independent storytellers all over the world.”
In recent years, Withoutabox — a division of IMDb, which is owned by Amazon — has placed a premium on locking up festivals to long-term agreements that shut out competitors like FilmFreeway, which doesn’t push for festival exclusivity.
- 2/21/2018
- by Chris O'Falt
- Indiewire
Dan Cooper Oct 27, 2017
It's been a big year for British films, it seems. But just how British are they?
How indeed is the British film industry? Fire off this particular question into the vastness of cyberspace and you’d be forgiven for thinking that things have never been rosier. A great sprawl of articles tumble forth, spewing forth hugely impressive numbers, whilst also celebrating the talent of our actors and our crews. Unsurprisingly, the runaway success of franchises such as Bond, Harry Potter and Lord Of The Rings also dominate most search-engine results.
In a nutshell then, the British film industry is in a state of rude health and we should all congratulate ourselves by heading down to our local cinema to watch a British film, you know, to bask in that lovely glow of pride that naturally occurs when the place that you’re from becomes relatively good at something important.
It's been a big year for British films, it seems. But just how British are they?
How indeed is the British film industry? Fire off this particular question into the vastness of cyberspace and you’d be forgiven for thinking that things have never been rosier. A great sprawl of articles tumble forth, spewing forth hugely impressive numbers, whilst also celebrating the talent of our actors and our crews. Unsurprisingly, the runaway success of franchises such as Bond, Harry Potter and Lord Of The Rings also dominate most search-engine results.
In a nutshell then, the British film industry is in a state of rude health and we should all congratulate ourselves by heading down to our local cinema to watch a British film, you know, to bask in that lovely glow of pride that naturally occurs when the place that you’re from becomes relatively good at something important.
- 10/22/2017
- Den of Geek
The 2016 edition of the UK exhibition conference took place in Glasgow, November 29-30.
Topics in the spotlight at the 2016 edition of This Way Up – the annual UK exhibition conference aimed at independent cinemas – included changing audiences, ticket pricing, and virtual reality.
Read: This Way Up 2016: 78% of audiences see the cinema as “an expensive activity”
While attending independent industry expressed concern around Brexit and challenges to audience growth, the conference also sounded a largely positive note about the UK film business.
Data driven
Film data analyst and researcher Stephen Follows was in Glasgow to deliver a lecture in which he highlighted some of the growing trends around cinema audiences.
Follows was keen to point out that the overcrowded release calendar is representing a real challenge for exhibitors and filmmakers alike. Focusing on the independent sector, he noted that two-thirds of UK releases were classified as “indie or specialist” but that they represented “a small fraction of the...
Topics in the spotlight at the 2016 edition of This Way Up – the annual UK exhibition conference aimed at independent cinemas – included changing audiences, ticket pricing, and virtual reality.
Read: This Way Up 2016: 78% of audiences see the cinema as “an expensive activity”
While attending independent industry expressed concern around Brexit and challenges to audience growth, the conference also sounded a largely positive note about the UK film business.
Data driven
Film data analyst and researcher Stephen Follows was in Glasgow to deliver a lecture in which he highlighted some of the growing trends around cinema audiences.
Follows was keen to point out that the overcrowded release calendar is representing a real challenge for exhibitors and filmmakers alike. Focusing on the independent sector, he noted that two-thirds of UK releases were classified as “indie or specialist” but that they represented “a small fraction of the...
- 12/1/2016
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
The 2016 edition of the UK exhibition conference took place in Glasgow, November 29-30.
Topics in the spotlight at the 2016 edition of This Way Up – the annual UK exhibition conference aimed at independent cinemas – included changing audiences, ticket pricing, and virtual reality.
Read: This Way Up 2016: 78% of audiences see the cinema as “an expensive activity”
While attending independent industry expressed concern around Brexit and challenges to audience growth, the conference also sounded a largely positive note about the UK film business.
Data driven
Film data analyst and researcher Stephen Follows was in Glasgow to deliver a lecture in which he highlighted some of the growing trends around cinema audiences.
Follows was keen to point out that the overcrowded release calendar is representing a real challenge for exhibitors and filmmakers alike. Focusing on the independent sector, he noted that two-thirds of UK releases were classified as “indie or specialist” but that they represented “a small fraction of the...
Topics in the spotlight at the 2016 edition of This Way Up – the annual UK exhibition conference aimed at independent cinemas – included changing audiences, ticket pricing, and virtual reality.
Read: This Way Up 2016: 78% of audiences see the cinema as “an expensive activity”
While attending independent industry expressed concern around Brexit and challenges to audience growth, the conference also sounded a largely positive note about the UK film business.
Data driven
Film data analyst and researcher Stephen Follows was in Glasgow to deliver a lecture in which he highlighted some of the growing trends around cinema audiences.
Follows was keen to point out that the overcrowded release calendar is representing a real challenge for exhibitors and filmmakers alike. Focusing on the independent sector, he noted that two-thirds of UK releases were classified as “indie or specialist” but that they represented “a small fraction of the...
- 12/1/2016
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
Researcher Stephen Follows specializes in data-driven analyses of the movie industry, so he has the numbers to prove what most of us already believe: Movies with positive reviews make more money than movies with negative reviews. But there’s one genre where this idea breaks down — or, as Follows puts it, goes “downright bonkers.”
That would be horror movies, where good reviews and profitability correlate fewer than one time out of five.
According to Follows, part of that wildly divergent result is because horror movies don’t get good reviews. Raw data on the more than 3,700 films studied is here, but Metacritic’s entire database shows only 26 horror movies that rate 80 or higher, and that’s reaching as far back as Roman Polanski’s “Repulsion” (and for some reason, includes Béla Tarr’s “Werckmeister Harmonies”). From 2000 to 2015, the period Follows studied, only three horror movies — “Drag Me to Hell,” “It Follows,...
That would be horror movies, where good reviews and profitability correlate fewer than one time out of five.
According to Follows, part of that wildly divergent result is because horror movies don’t get good reviews. Raw data on the more than 3,700 films studied is here, but Metacritic’s entire database shows only 26 horror movies that rate 80 or higher, and that’s reaching as far back as Roman Polanski’s “Repulsion” (and for some reason, includes Béla Tarr’s “Werckmeister Harmonies”). From 2000 to 2015, the period Follows studied, only three horror movies — “Drag Me to Hell,” “It Follows,...
- 10/26/2016
- by Sam Adams
- Indiewire
Exclusive: Directors UK report concludes that there is “unconscious, systemic bias” towards male directors in UK.
An extensive new report commissioned by Directors UK has found that in the decade from 2004 to 2014, only 13.6% of working film directors in the UK were women.
‘Cut Out of the Picture: A study into the gender and inequality amongst directors in UK film,’ examines the data behind all 2,591 films made in the UK across that decade to explore how female filmmakers are faring at all levels.
The findings, which Screen will address in a feature to be published tomorrow, reveal that over that decade of study the situation not only stagnated, but worsened in terms of the number of female-directed films supported by public funding.
Over that period, just 21.7 percent of films receiving public funding had a woman at the helm, and that support fell dramatically in the seven years from 2008 to 2014; from 32.9% to 17%.
Crucially, the report...
An extensive new report commissioned by Directors UK has found that in the decade from 2004 to 2014, only 13.6% of working film directors in the UK were women.
‘Cut Out of the Picture: A study into the gender and inequality amongst directors in UK film,’ examines the data behind all 2,591 films made in the UK across that decade to explore how female filmmakers are faring at all levels.
The findings, which Screen will address in a feature to be published tomorrow, reveal that over that decade of study the situation not only stagnated, but worsened in terms of the number of female-directed films supported by public funding.
Over that period, just 21.7 percent of films receiving public funding had a woman at the helm, and that support fell dramatically in the seven years from 2008 to 2014; from 32.9% to 17%.
Crucially, the report...
- 5/3/2016
- ScreenDaily
Exclusive: Directors UK report concludes that there is “unconscious, systemic bias” towards male directors in UK.
An extensive new report commissioned by Directors UK has found that in the decade from 2004 to 2014, only 13.6% of working film directors in the UK were women.
‘Cut Out of the Picture: A study into the gender and inequality amongst directors in UK film,’ examines the data behind all 2,591 films made in the UK across that decade to explore how female filmmakers are faring at all levels.
The findings, which Screen will address in a feature to be published tomorrow, reveal that over that decade of study the situation not only stagnated, but worsened in terms of the number of female-directed films supported by public funding.
Over that period, just 21.7 percent of films receiving public funding had a woman at the helm, and that support fell dramatically in the seven years from 2008 to 2014; from 32.9% to 17%.
Crucially, the report...
An extensive new report commissioned by Directors UK has found that in the decade from 2004 to 2014, only 13.6% of working film directors in the UK were women.
‘Cut Out of the Picture: A study into the gender and inequality amongst directors in UK film,’ examines the data behind all 2,591 films made in the UK across that decade to explore how female filmmakers are faring at all levels.
The findings, which Screen will address in a feature to be published tomorrow, reveal that over that decade of study the situation not only stagnated, but worsened in terms of the number of female-directed films supported by public funding.
Over that period, just 21.7 percent of films receiving public funding had a woman at the helm, and that support fell dramatically in the seven years from 2008 to 2014; from 32.9% to 17%.
Crucially, the report...
- 5/3/2016
- ScreenDaily
Male leads in romantic films are on average four and a half years older than their female co-stars, a new study has found.
Writer and producer Stephen Follows decided to research the difference between the ages of male and female leads in romantic films over the last 30 years, following comments from Maggie Gyllenhaal.
The 37-year-old actress revealed that she was turned down for a part because she was deemed too old to star alongside the 55-year-old male lead.
After looking at cast information for 422 films released between 1984 and 2014, he found that there was never a time that the average age of female leads was older than their male counterparts.
Robert Redford, Dudley Moore and Richard Gere have the largest age gaps among Hollywood actors, while Julia Roberts, Debra Winger and Winona Ryder have traditionally been much younger than their co-stars.
Sydney Pollack had the largest average age gap between his...
Writer and producer Stephen Follows decided to research the difference between the ages of male and female leads in romantic films over the last 30 years, following comments from Maggie Gyllenhaal.
The 37-year-old actress revealed that she was turned down for a part because she was deemed too old to star alongside the 55-year-old male lead.
After looking at cast information for 422 films released between 1984 and 2014, he found that there was never a time that the average age of female leads was older than their male counterparts.
Robert Redford, Dudley Moore and Richard Gere have the largest age gaps among Hollywood actors, while Julia Roberts, Debra Winger and Winona Ryder have traditionally been much younger than their co-stars.
Sydney Pollack had the largest average age gap between his...
- 6/2/2015
- Digital Spy
Survey of romantic films over 30 years widens debate reignited by comments of Maggie Gyllenhaal, 37, about being told she was too old to star opposite 55-year-old man
Female leads are on average four and a half years younger than their male counterparts in Hollywood movies, and the age gap is only slightly smaller on films directed by women, according to new research.
British film producer and writer Stephen Follows studied 422 romantic films that made more than $1m at the box office in the wake of Maggie Gyllenhaal’s comments last week about her experiences in Hollywood. The Dark Knight actor revealed she was turned down for a role opposite a 55-year-old man because, at 37, she was considered “too old” by casting directors.
Continue reading...
Female leads are on average four and a half years younger than their male counterparts in Hollywood movies, and the age gap is only slightly smaller on films directed by women, according to new research.
British film producer and writer Stephen Follows studied 422 romantic films that made more than $1m at the box office in the wake of Maggie Gyllenhaal’s comments last week about her experiences in Hollywood. The Dark Knight actor revealed she was turned down for a role opposite a 55-year-old man because, at 37, she was considered “too old” by casting directors.
Continue reading...
- 6/2/2015
- by Ben Child
- The Guardian - Film News
In June 2014, director Alex Lightman produced his first feature film, Tear Me Apart. Here he talks about the major lessons him and his team learnt along the way.
The London Screenwriters’ Festival 2011 was where my career really began. Made to talk to the person next to me by festival creative director Chris Jones, I shook hands with screenwriter Tom Kerevan. A fateful encounter.
We started working together and soon after met cinematographer Ernesto Herrmann on a short film shoot. The three of us have been working together ever since.
In May 2013 we made the somewhat snap decision to take the plunge and produce a feature film ourselves. Having never produced something of this scale, I fully admit that the undertaking was terrifying, but with that dangerous mix of confidence, arrogance and blind optimism we figured that between the three of us, we must amount to at least one competent producer…...
The London Screenwriters’ Festival 2011 was where my career really began. Made to talk to the person next to me by festival creative director Chris Jones, I shook hands with screenwriter Tom Kerevan. A fateful encounter.
We started working together and soon after met cinematographer Ernesto Herrmann on a short film shoot. The three of us have been working together ever since.
In May 2013 we made the somewhat snap decision to take the plunge and produce a feature film ourselves. Having never produced something of this scale, I fully admit that the undertaking was terrifying, but with that dangerous mix of confidence, arrogance and blind optimism we figured that between the three of us, we must amount to at least one competent producer…...
- 1/14/2015
- by Alex Lightman
- Hope for Film
…and Stephen Follows — screenwriter, film producer, and industry watcher — has crunched the numbers that prove it. You can download the full 16-page report in Pdf form at his site. A few highlights:
• Women make up only 23% of crew members on the 2,000 highest grossing films of the past 20 years.
• In 2013, under 2% of Directors were female.
• The only departments to have a majority of women are Make-up, Casting and Costume
• Visual Effects is the largest department on most major movies and yet only has 17.5% women
• Musicals and Music-based films have the highest proportion of women in their crews (27%).
• Sci-Fi and Action films have the smallest proportion of women (20% and 21% respectively).
• There has been no improvement in the last 20 years. The percentage of female crew members has decreased between 1994 (22.7%) and 2013 (21.8%).
• The three most significant creative roles (Writer, Producer and Director) have all seen the percentage of women fall.
• The jobs performed by women have become more polarised.
• Women make up only 23% of crew members on the 2,000 highest grossing films of the past 20 years.
• In 2013, under 2% of Directors were female.
• The only departments to have a majority of women are Make-up, Casting and Costume
• Visual Effects is the largest department on most major movies and yet only has 17.5% women
• Musicals and Music-based films have the highest proportion of women in their crews (27%).
• Sci-Fi and Action films have the smallest proportion of women (20% and 21% respectively).
• There has been no improvement in the last 20 years. The percentage of female crew members has decreased between 1994 (22.7%) and 2013 (21.8%).
• The three most significant creative roles (Writer, Producer and Director) have all seen the percentage of women fall.
• The jobs performed by women have become more polarised.
- 7/24/2014
- by MaryAnn Johanson
- www.flickfilosopher.com
Independent filmmaking is the land of the never-ending benchmark. If you’re not heaving a sigh after finally completing your film, you’re praying it’s accepted into a festival, that someone buys it, that it finds its audience, that you reap a modicum of returns, before daring to do it all over again. Or maybe, not. With the assistance of BFI, British producer Stephen Follows managed to fashion a list of all UK films budgeted at under £500k since 2008, and over £500k since 2003, for a data comparison on the career trajectories of filmmakers behind 2,737 films. His findings, while vaguely depressing, are […]...
- 12/3/2013
- by Sarah Salovaara
- Filmmaker Magazine - Blog
Independent filmmaking is the land of the never-ending benchmark. If you’re not heaving a sigh after finally completing your film, you’re praying it’s accepted into a festival, that someone buys it, that it finds its audience, that you reap a modicum of returns, before daring to do it all over again. Or maybe, not. With the assistance of BFI, British producer Stephen Follows managed to fashion a list of all UK films budgeted at under £500k since 2008, and over £500k since 2003, for a data comparison on the career trajectories of filmmakers behind 2,737 films. His findings, while vaguely depressing, are […]...
- 12/3/2013
- by Sarah Salovaara
- Filmmaker Magazine-Director Interviews
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