I crunched the data on over a million shots of faces across 3,655 movies to see whether modern lighting is getting flatter.

I analysed fifteen years of Oscar nominees to see whether the most-mentioned contenders in the trades tend to go on to win.

I crunched the numbers on 8,190 movies to discover which types stay profitable even when the critics are unkind.

When people begin exploring data on films, one of the first things they look for is the production budget. It sounds simple enough: how much did the film cost to make? Knowing that number helps when ...

I have been asked for years whether “Go Woke, Go Broke” is true for movies. So it was a real honour to be able to give the keynote today at the Zurich Summit and answer the question. Over the last few ...

Colour is one of the quickest ways a poster can tell you what kind of film it’s selling. Before you’ve read the title or registered the actors, your brain has already clocked the palette and filed it ...

This is part two of my collaboration with Screendollars in which we spoke to 246 cinema owners and film professionals affiliated with exhibitors. We quizzed them on a range of topics, and their ...

An oft-repeated mantra among film distribution professionals is “Drama is not a genre”. By that, they don’t mean that films cannot be dramatic, nor that there are not films you could call “a drama”.

Over the past few years, more people have reached out asking some version of the same question: Are movies becoming too woke? Some want proof that diversity and progressive themes deliver stronger box ...

Cannes 2025 was not a washout. The Croisette was crowded, the sun came out, and over 15,000 industry professionals turned up. But something has shifted. I believe that we will look back at 2025 as an ...