Video: Why Are There So Many Remakes??

June 19th, 2015 by

Produced by PBS Idea Channel and hosted by Mike Rugnetta, this video explores a question that vexes many movie fans today: Why are there so many remakes? Yes, there’s the revenues. And it’s proven to be safer for the studios. But this video makes the argument there’s something else going on about Gen Xers and Millennials which makes remakes particularly resonant to those demo groups.

Industrial technological duplication as a cultural touchstone. What do you think of that theory?

What’s going on with mid-budget movies in Hollywood?

May 8th, 2015 by

Terry Huang is part of the Black List crew and one of his specialties is analytics. For example back in April, he took on the idea that has floated around Hollywood for several years — the highest budgeted movies are the ones which translate into the most reliable profits — and broke down some actual numbers in a Black List blog post to basically support that thesis.

Afterward I emailed Terry to see what he could dig up about mid-budget movies which have taken it on the chin relative to major Hollywood studios – the rise of behemoth blockbuster franchises has led to a precipitous drop in films in the $25-75M range.

So Terry went at it and came up with a post that provides what I believe analysts officially call a “shit-ton” of invaluable information. Here are some excerpts:

Why do we care about these mid-budget movies? Well, increasingly, studios have gravitated toward spending more money on fewer projects. These giant projects are largely, if not entirely, based on things like comic books, YA novels, or previous films. The mid/low budget space is pretty much the only place where original movies are being made. And this means that it’s the only space where original material is being bought.

Take a look at this graph that shows the breakdown of spend by different budget brackets over time:

As you can see, spend on $100 million plus movies has increased quite a bit over the last ten years. This has been particularly driven by $200 million plus movies, which has come to represent about 25% of total production spend.

It’s most noticeably the under $50 million space that has been declining over the past decade. This means that dollars are tighter and that there are fewer movies to split that cash. This also means to get a movie made in this space, it has to be a compelling proposition, even more so nowadays that a decade ago. A script needs to stand out in this space.

And this is just tip of the proverbial information iceberg Terry dug up like “Attributes of Very Successful Mid-Budget Films” including most common keywords in their loglines.

Here are three takeaways Terry came away with from his research:

These are scripts that are more likely to sell in this ultra-competitive space.

* Horror, comedy, romance, and sci-fi tend to do better

*Ignore MPAA rating. There’s little influence in return. And use of the F word is actually an attribute of successful movies.

*Women led movies will have a higher likelihood of financial return. Female protagonist is also a keyword that shows up in successful movies.

My takeaway: If you are writing a spec script for a mid-budget movie, you need to be smart. Really smart. Start with a strong story concept, one that has an undeniably evocative and compelling hook. Next, a roster of distinctive and fascinating characters, ones name actors would love to play. Also make choices in your plotting choices that put you more toward the $20-25M range rather than $70-75M. The more expensive your project’s budget, the less likely it gets bought or even repped.

That said, I honestly believe over the next 5-10 years, we’re going to see a renaissance of movies in the $20-25M budget range. Big enough to draw A list talent and have the sheen of a major motion picture, yet low enough in terms of cost so studios will have a decent chance to make a profit. Why do I think this? Three reasons.

* Audiences will grow weary of $200M franchise movies, especially superhero stories where the plot repeats ad nauseam the same damn threat: The potential end of the world. How many times can they keep dipping into that well? At some point, moviegoers will stop caring.

* There is a huge audience out there that yearns for mid-budget movies, namely Baby Boomers and Senior Citizens. I would argue even the 30+ crowd, depending on the specifics of the project. Movies that engage our hearts and minds, not just CGI eye candy.

* People want good stories. Shared universes, sequels, prequels, remakes, reboots and the like, they don’t lend themselves to quality storytelling. It’s more about servicing franchises. Moviegoers are smart enough to sniff that out. Over time, the wearying preponderance of those franchise films will feed the desire for original movies with great stories.

Five years ago, I started blogging that the cross genre Action Comedy would make a comeback… and it has. Now my crystal ball says mid-budget movies are primed to return to the stage.

Writers, if this is your area of interest, just be smart in your creative choices. You can start that education by reading Terry’s latest post in its entirety by going here.

Deal: “Controller” (Short Video)

April 25th, 2015 by

Hollywood’s mini-wave of short proof-of-concept videos continues with “Controller”. From Deadline:

Fox has acquired Controller, a project that Alev Aydin will write based on a concept written by Saman Kesh based on his short film… Pic is a sci-fi rescue film that turns the damsel-in-distress trope upside down. It is set in the homogenized future of New-Taipei, where an imprisoned young woman who has enormous psychic powers perpetrates her own rescue by taking physical control of her boyfriend, turning him into a helmeted Terminator. The film is a modern love story draped in blood, and Kesh went to Taiwan and shot the short film to demonstrate a potential third act for the feature.

Here is the video:

Movies are primarily a visual medium, so it makes sense to some degree that visual representations of stories have a certain cache now that digital technologies have made these type of short films possible for filmmakers. The key seems to be immersing the viewer in the atmosphere and feel of a unique story universe, conveying the story’s central conceit, and lots of eye-popping action.

What do you think of “Controller”?

Breakdown: “Batman v. Superman” trailer

April 22nd, 2015 by

The courses I teach and workshops I run through Screenwriting Master Class never cease to amaze me in terms of the quality discussions that emerge in our 24/7 forums. Case in point, a recent conversation in the Pages II: Rewriting Your Script course, something initiated by Michael W:

Has anyone else noticed the new Batman v Superman trailer and how theme heavy it is?

False Gods, The dangers of Supreme Power (man v authority), The undercurrent of revolution.

Since action shots are often plot spoilers in trailers theme-trailers seem like a good way to set up conflict (especially if you already know the characters like Batman and Superman).

Have you noticed any other trailers that use theme in them?

Picked up by Avi G:

I wonder if an interesting exercise to help fine tune or crystalize a scripts theme in one’s mind would be to imagine what the theme-based trailer of a script would look like?  I’m definitely going to ponder that.

Here is the trailer in question:

Which led me to this:

Interesting subject and I think an apt one. Some types of movies may be able to work on the marketing front by focusing strictly on the action, but by and large, even spectacle / special effects movies have to have to some sort of emotional grounding to connect deeply with a wide audience.

Aristotle discusses spectacle in Poetics and puts it at the bottom of the list of a story’s narrative elements, focusing his attention on plot grounded in character.

So it would make sense that trailer shops and studio marketing divisions would zero in on the emotional meaning / themes of any given story they are trying to sell to the public in order to elicit a connection on that level.

Per the B v S trailer, here is a breakdown of it beat for beat:

[Over black]

“Is it really surprising that the most powerful man in the world is a figure of controversy?”

[Image of city skyline at night with big statue in the center]

“We as a population on this planet have been looking for a savior.”

[cut to image of Superman]

“We are talking about a being…” / [creepy cross talk voice] “alien” / “…whose very existence…” / [woman’s voice] “they are not telling us the truth” / “…challenges our own sense of priority…” / [screaming background voice] “this is our place” / “…in the universe.”

[image of Superman holding up what looks to be some sort of massive rocket component]

[closing in on city skyline and statue]

“Human beings have a horrible track record…” / [woman’s voice] “tragedy” / “…of following people of great…” / [another woman’s voice] “power corrupts and absolute power corrupts absolutely” / [other woman’s voice] “chaos”

[Superman surrounded by four kneeling uniformed military / police officials]

“Maybe he’s just a guy trying to do the right thing” / [another man’s voice] “we know better now, don’t we” / [screaming background voice] “he’s out of control”

[closing in on statue]

“Devils don’t come from Hell beneath us…” / [scared man’s voice] “they brought their warrior” / “…they come from the sky.”

[closing in on statue]

[man in f.g. reaching up to sky where Superman is floating]

“The world has been so caught up in what he can do…”

[closing quicker on statue]

“…that no one has asked what he should do.”

[super close on statue in darkness as crowd chants]

“Go home! Go home! Go home! Go home!”

[statue illuminated revealing it’s one of Superman, his “S” logo covered with graffiti: “False God”]

This is the 1:00 minute mark.


“That’s how it starts…”

[CU – Bruce Wayne]

“…the fever… the rage… the feeling of powerlessness.”

[CU – Batman suit in storage]

“…that turns good men… cruel.”

[Lots of images of Batman, spectacle, destruction, then… image of Batman staring into the night sky where Superman is hovering in the rain]

“Tell me, do you bleed?”

[Superman lands, squaring off against Batman]


“You will.”

[Superman logo / Batman logo superimposed over it, the two merging]

[Batman v. Superman: Dawn of Justice]

Trafficking in themes in trailers allows the marketing to focus more on the psychology, tone and atmosphere of the story rather than plot. But believe me, as we get closer to the release date, there will be additional trailers that do get more plot specific. This trailer is just cutting trail for the rest of the marketing onslaught. But it’s important in creating images and a feel in the minds of potential viewers, establishing central themes.

So given this trailer script, what themes do you see at work? Some of them literally spelled out in dialogue.

BTW I’ll sometimes ask a writer with whom I’m working to conjure up images and V.O. for their story’s movie trailer. What are your story’s trailer moments? Set pieces and key emotional plot points. Do you have them? Do you know them? An important consideration given how much time and money studios spend in marketing movies nowadays and to spur the writer to brainstorm / generate movie-worthy moments in their script.

A good exercise for each of you to do with your current stories, yes?

Have you ever imagined what a trailer for your movie would look like? What themes would it emphasize? Does your story lend itself to ‘trailer moments’?

And for you DC Comics fans, what’s your take on the B v S trailer?

“Everything is changing”

April 15th, 2015 by

That’s what attorney, producer and founder of Cinetic Media John Sloss said yesterday during the keynote address for the 7th annual TV and Film Finance Forum. And Sloss, whose producing credits include Boys Don’t Cry, Before Sunset, and Boyhood, thinks all that change represents an “incredible, exciting time of opportunity” for storytellers. From Indiewire:

Everything is changing. The form of the content, the way it’s being financed, the way it’s being delivered, the way it’s being consumed.


We come from a place where the two-hour narrative was king. It was the aspiration of everyone who created narratives…it was a beginning to end story… hen what came along was the 11-hour narrative that used to exist an hour a week at a certain time slot and is now being put up for view all at once occasionally…

From a creator’s standpoint, it creates an irresistible opportunity to tell a more involved dynamic, complex narrative story than the previous state of art of a two to three-hour narrative… And what’s happening is it’s causing the greatest creators to leap-frog the public viewing creation and jump straight to the small screen and it becomes a question of whether 11-hour viewing will make its way to public viewing.

Sloss, who is one of the most knowledgeable and perceptive figures on the front lines of indie filmmaking, had interesting comments about VOD, day-and-date release strategies, and other issues related to film financing. However I thought his observations about crowdfunding were especially noteworthy:

If you look at crowdfunding as not getting money for nothing or putting your hand out to people to support your pet project but as first and foremost community building around these affinity communities of the content you’re trying to produce and you go from there, you basically focus on bringing the core fans in from the inception and make part of the actual production process… Then you create a loyalty and support that is much more than just relying on fans to show up at a sneak preview.

While Sloss was delivering his keynote address, I was simultaneously giving my final lecture of the semester in my History of American Screenwriting class, then discussing the future of storytelling and new media with my 25 university students. It was a wide-ranging conversation touching on movies, TV, web series, video games, virtual reality, and more. When comparing today to the 1890s, where we began the semester, it’s clear that change is a constant throughout the history of filmmaking, whether that change is technologically, culturally, or aesthetically based. However over the decades, one thing remains the same: Content creators always have a central role in the process of producing entertainment. With the explosion of new media platforms such as Netflix, Hulu, and Amazon, the value of content creators may never be greater than it is today.

A final thought which I stressed with my students yesterday: Think of the internet as a distribution network. Create content, put it online, and see what happens. The right set of eyeballs can change your life.

For the rest of the Indiewire feature on John Sloss, go here.

Congratulations, Christian Contreras!

April 8th, 2015 by

Last week, actor turned screenwriter Christian Contreras set up a high profile pitch. From Deadline:

In a competitive situation, Warner Bros has acquired Principia, a pitch that will be scripted by Christian Contreras, with David Goyer producing through his Phantom Four Productions banner with Kevin Turen.

They are keeping the logline under wraps, but it’s based on actual events. A high-concept historical thriller in the vein of The Prestige, this one involves Isaac Newton and the hunt for a notorious criminal. The scribe, an American who lives in London and has acted in Fury, The Fifth Estate and Zero Dark Thirty, just came to Hollywood a couple of weeks ago with an idea he wanted to write. He signed with WME and Grandview Entertainment, and Goyer heard the pitch late last week and set it up with Warner Bros that night.


Contreras separately scripted Labyrinth, a drama about the murder cases of Tupac Shakur and The Notorious B.I.G., with producer Miriam Segal developing it.

Christian is a longtime GITS follower and Screenwriting Master Class alumnus having taken the Prep: From Concept to Outline workshop with me. In fact, we were in touch in February when Labyrinth went wide and he ended up signing with WME. Here is an excerpt of what Christian wrote to me:

I also know that you’ve made me a better screenwriter.

I thank you for that.

From countless posts or links or interviews that contained a nugget I didn’t know I needed.  Screenplays.  Core elements.  Seriously, this is how my life’s organised: 1-2-7-14.  I shit you not when I say Deep Focus: Film School on the Cheap has been my Film School.  Full stop.  I have breakfast, take a shower and get dressed like I’m going to school. Then I sit down at my computer – 5 days a week – for each subject area.  The 1 screenplay-a-week I read is from one of the 2-movies-a-week I watch.  Reading the Evolution of Filmmaking and Film Criticism has made me better understand the nuances of the form, a film’s place in the zeitgeist, and innumerable other things I can’t articulate.


It’s a long road ahead, I know.  I just wanted to reach out and tell you how much I appreciate what you’ve done and what you do.  You don’t know but you’re a daily part of my life.

So congratulations, Christian! A talented writer who has exhibited the persistence and passion necessary to make it in Hollywood. Here’s a blast of creative juju for both Principia and Labyrinth. WHOOOSH!!! May those projects find green lights!

“News Companies See Movies as Opportunity for Growth”

March 30th, 2015 by

As much chatter as there is going around about the supposed decline of movies as a viable narrative form in today’s binge-watching-short-attention-span culture, there’s this:

In a surprising turn, some of the most aggressive contemporary purveyors of information, journalistic and otherwise, are seeking future growth from what has not seemed novel since Edison’s day: the feature-length motion picture.

In the last several years, BuzzFeed Media, Vice Media, CNN, Condé Nast and Newsweek have all built units or alliances aimed in part at creating long-form narrative or documentary films that will be seen in theaters. They will use time-tested promotional apparatus — including festivals, awards and brightly lit marquees — to draw viewers, many of whom will ultimately see the movies online or on television.

Distributors of short form news stories are creating divisions focusing on long-form feature films, both scripted and documentary. Why?

While they vary, the operations are all planted in the notion that classic movie formats have immense power to open cultural conversations, and to hold viewers who might otherwise be lost to a competitor with the next bold headline, or two-minute video.

If the goal still exists to create content that draws eyeballs that stick around for longer than it takes to click a mouse, movies can be a sound solution, landing a person’s attention for 90-120 minutes. This from Ze Frank, president of BuzzFeed Motion Pictures:

Why bother?

Because, Mr. Frank said, long-form visual storytelling seems the best way to deal with life’s deeper themes: “sex, love, war, jealousy and betrayal,” for instance.

“The Russian novel was the standard for a while,” he said. “Right now, I really feel it’s the feature.”

Cycles. The entertainment business is always about cycles. Something’s hot. Then it’s not. Then it’s hot again. That’s just one reason why I’m absolutely certain that while we may be in the middle of the so-called Second Golden Age of TV, there will be a renaissance on the movie side of things.

Who knows? Maybe it’s emerging right now.

For the rest of the NYT article, go here.

Great news for a pair of Black List writers!

March 27th, 2015 by

I enjoy interfacing with all types of screenwriters, but I am particularly fond of getting to know talented up-and-comers. Oftentimes uninhibited by conventional wisdom and so-called screenwriting ‘rules’, they bring a fresh perspective to the craft and to the world of storytelling. So I was thrilled this week when two announcements about Black List writers — Elijah Bynum and Jason Mark Hellerman — hit the trades:

THR: Imperative Entertainment Producing Black List Script ‘Hot Summer Nights’:

Imperative Entertainment will finance and produce Black List script Hot Summer Nights, a coming-of-age drama set during a stormy summer in Cape Cod.

Elijah Bynum wrote the script and will make his directorial debut with the project, which is slated to begin production this summer. Bynum was the only writer to have two scripts on the 2013 Black List, the other being Mississippi Mud.


“Bynum is an exceptional talent and is someone we believe will be a phenomenal director. In our experience, these types of visionaries come along very rarely and we have designed Imperative to have the resources and infrastructure in place to support them and help them realize their vision,” says Thomas.

Deadline: ‘Shovel Buddies’ 2013 Black List Script Heads To May Shoot With AwesomenessTV, Film 360:

Shovel Buddiesa 2013 Black List script by Jason Mark Hellerman, will be produced by AwesomenessTV and Film 360 for day-and-date theatrical and VOD release. The film will be directed by English duo Si & Ad with a likely cast of social-media stars plucked substantially from the stables of AwesomenessTV and its Big Frame talent-management unit.

Casting is underway, and filming is expected to begin by May.


Thus the deal for Hellerman’s script, which ended up eighth on the 2013 Black List of Hollywood’s best unproduced screenplays. The name is a play on the idea of the “bucket list.” Here, a group of four teens whose friend has just died of leukemia strive to do all the items on the friend’s “shovel list” in a single night.

I got in touch with Elijah and Jason to congratulate them. Both are longtime Go Into The Story followers. In fact, Elijah said in his email response, “Thanks man! You’re part of the reason this was able to happen.”

So congratulations to Elijah and Jason! Hot Summer Nights and Shovel Buddies are wonderful stories. May the Cinema Gods be with each project as they move forward into production.

To read my April 2014 interview with Elijah Bynum in which we discuss Hot Summer Nights, go here.

To read my August 2014 interview with Jason Mark Hellerman in which we discuss Shovel Buddies, go here.

Twitter: @BynumElijah, @JasonHellerman.

John Lasseter and 7 Storytelling Instincts

February 2nd, 2015 by

In my recent Pixar and the Craft of Storytelling class, one of the writers in the group – Bob – posted this link to a recent feature in The Telegraph on Pixar and Disney Animation head honcho John Lasseter. It’s a terrific read on how Lasseter and team have turned around the fortunes of Disney Animation. Spurred some thoughts which I am reprinting here.

Great, Bob, thanks. That is an excellent article and speaks so much to some of the key reasons for Pixar’s success and Disney Animation’s ‘resurrection’. Specifically 7 storytelling instincts present in their work and approach to their business.

1. Passion: Lasster and crew love making movies, telling stories and animation in all forms. It’s not just a job, it’s not just about hitting quarterly earnings requirements. There is a genuine zeal for what they do.

2. Creativity: They value it, they embrace it, they do everything they can engender it. Notice how they completely restructured the way Disney story development operates. I know all too well about Disney and their propensity for giving notes, a top-down approach to the story-crafting process. In the article, you’ll note when Lasseter came onto the scene at Disney animation, the setup of the actual administration building reflected this model. No more. Creatives have a place of authority and respect.

3. Wonder: As opposed to cynicism. This line from Lasseter: “They thought the world had grown too cynical for traditional fairy tales, but I was sitting at Pixar thinking, ‘No! Hollywood’s grown too cynical for them! The rest of the world loves them!'” Whether the lifestyle of a Hollywood studio executive attracts edgy, negative personalities or the job itself relentlessly grinds a person into a cynic, while there is room for dark movies, that’s not what a majority of the world’s population wants. Or perhaps even more importantly… needs. I’m not talking pablum stories. Neither is Lasseter. As we’ve seen in this course, Pixar deals with some really serious themes: death, loss, self-identity. But they tells stories with those serious themes from a place of wonder, that amidst all of the potentially destructive dangers of this life, there is also beauty, courage, friendship and love.

4. Curiosity: Note how the article emphasizes the research Disney (and Pixar) do for each project. Go out into the world! See what’s out there! Immerse yourself in the unique story subculture! Open your eyes! Hollywood denizens are too often informed by their insular experience of the 405-101-10-110 bubble. There’s a reason they refer to the broad stretch of the United States between LA and NYC as “flyover country”. As writers, we benefit by living life and burrowing deep into interesting corners of it.

5. Openness: No longer stories where female characters sit around waiting to be saved. Disney animation now goes where culture goes, reflecting the experience of actual contemporary human beings, rather than slavishly following the dictates of tradition.

6. Respect: And yet, they don’t trample all over what has come before. Disney had decided to dump 2D animation. Lasseter put an end to that. He loves and respects the artistry of ‘old’ Disney movies. I believe some of that has to do with the tactile experience of working with pen or pencil and paper. 3D is great, of course, but it’s not the same as hand scratching images on a sketchboard. There is a kind of direct vitality and inspiration that can emerge from that witness Pixar’s famous lunch where Wall-E and the house from Up emerged. There is much to be learned from the history of movies and storytelling.

7. Fun: Their primary audience is children. And children like to have fun. Adults do, too, even if they get so caught up in work and responsibilities, they sometimes forget that. So with everything else that goes on in the story-crafting process, Lasseter is always innately cued into the potential for fun. I mean, the dude owns over 1,000 Hawaiian shirts! That’s his work apparel!

Look at that list. Know what? That’s a great list of attributes for any screenwriter to have. We should embrace and engender the spirit of those seven qualities in our own lives and writing lifestyles.

Again thanks for the article, Bob. Definitely worth a read!

I don’t care what genre or type of stories you write, these 7 storytelling instincts are good ones to engender. And honestly, if Hollywood development execs and producers would embrace these, I think the film and TV business would be better off.

To read The Telegraph article, go  here.

The Year of a Bunch of Totally Solid Movies

January 22nd, 2015 by

An informative look by the Black List’s Terry Huang at the movies of 2014:

It’s a sentiment that has been expressed enough to seem worthy of note:

2014 perhaps wasn’t the best year for movies.

When thinking about this year in comparison to other years and in particular last year, which had both Gravity and 12 Years a Slave, should we feel shortchanged?

Well, first off, we need to distinguish two things when deciding our definition of a “good” year for film.

1. The actual quality of films released. Were there fewer good films released this year? How do the “best of the best” stack up against previous years (Oscar contention)? Was there an abundance of bad films? Was it a year of more mediocre movies?

2. The perception of the quality of films released. This takes into account the same variables above, except we need to add an element of how well publicized, distributed, and/or patronized the good movies were compared to the bad movies. Collectively, were bad movies more present than good ones? Were people simply unaware of the good films?

The Best of the Best

In our collective memory years from now, we’ll probably only remember the greats. So it’s worth exploring, independently of all the junk, the most highly-rated films of the year. This won’t tell us overall the quality of film, but it will tell us if this year produced films that will filter into our future canon.

For this analysis, I’ll be using Metacritic as a proxy for quality of film.

Why use Metacritic over Rotten Tomatoes? Basically, Metacritic answers more granularly “how good” the movie was, not just what percent of critics liked it. It also favors more established, well-regarded critics. There’s a long explanation you can check out, and you can also reference Metacritic’s own explanation of how they calculate the score. I’m not saying it’s better; it just tells you something slightly different.

Why use Metacritic instead of anything else? Well, mostly because it already exists, it broadly tracks movies, and we’ve all heard of it, so we have a common reference point.

Let’s just look at the Metacritic scores of the top 10 films by year, regardless of how widely distributed they were.

2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
#1 100 99 96 97 94 99 95 95 100 100
#2 93 98 94 94 94 95 94 94 100 95
#3 92 91 92 92 92 94 90 92 97 95
#4 92 91 92 91 89 92 89 92 97 92
#5 90 90 91 89 89 91 89 90 96 91
#6 89 89 90 86 88 90 88 88 94 91
#7 88 89 89 86 88 90 87 87 94 90
#8 88 89 88 85 87 88 87 87 93 90
#9 87 89 88 85 86 88 87 87 93 89
#10 87 88 88 84 86 88 87 87 92 89
Average 90.6 91.3 90.8 88.9 89.3 91.5 89.3 89.9 95.6 92.2

So looking at the “best of the best,” this year was actually the second highest scoring year in the last 10 years, right behind 2013. That sounds like a pretty strong year for film! 2013 was an exceptionally strong year (the average is 3.4 points higher than 2014). Coming off 2013 probably skews our perspective a little about the quality of 2014.

I’ve been telling people the same thing: We’ve had a couple of years with some superior movies. For 2014, Boyhood, Birdman, Selma, Whiplash, Nightcrawler, The Grand Budapest Hotel, The Imitation Game, Edge of Tomorrow, Interstellar, The LEGO Movie, Gone Girl, The Fault in Our Stars are movies that easily spring to mind. I’m sure I’ve forgotten several others.

For all you numbers people, check out the rest of Terry’s post here as he really gets granular re the movies of 2014.

Twitter: @terrykhuang.

Check out the Black List blog here.