Additionally, most films have a relatively short "shelf life," averaging about six weeks in all (Earnest, 1985). The market for films is characterized by quick entry and equally rapid exit and the majority of the box office gross must be made early given that box office take drops off 15 to 20 percent after the first week of release (even for a great film). A film made at a cost of $15 million must make at least $37.5 million at the box office to break even.

Filmmakers must also time release of a picture appropriately to generate maximum market penetration and sales. Earnest (1985) noted that seasons for release are associated with specific market demographics. For example, summer months represent the period when the greatest segment of the movie-going public, teens and college students, are out of school and likely to attend a film; films released during this three-month window enjoy the greatest opportunity for maximization of box office potential.

Another important characteristic shaping box office success, according to Earnest (1985), is genre. Movies are not like estab

Simon, J. (1981). Fancy footwork. National Review, (33)22),

http://efilmcritic.com/review.php?movie.

Added to this are deep characterizations, which Higson (2000) says are dependent upon the capacity of actors to move thoroughly into the roles which they play. Ben Cross, as Harold Abrahams, is seen by Simon (1981) as the quintessential outsider û the wealthy but class-poor son of a Jewish immigrant whose talent and drive (and money) are not enough to ensure that he will penetrate the inner circle of upper-class British society. Similarly, Ian Charleston as Eric Liddell, fully represents the humble yet determined Scots missionary whose goal it is to sacrifice himself for his Lord. While neither Cross nor Charleston are to be found among the ranks of those British actors usually found in heritage films, they nevertheless have the capacity to immerse themselves in their roles and become their characters.

lished consumer and industrial products in that there are no cinematic "brand leaders." One might argue that established serials, like the Star Wars films, may constitute a sort of cinematic "brand." One can also speculate that certain films, such as Disney's and its partners' animated films, also represent popular "brands" that are greeted with a somewhat predictable level of enthusiasm by audiences.

The audience response to Finding Nemo also may be attributed in part to the release data assigned to the film by its creators. Earnest (1985) argued that films released in the key summer months tend to do particularly well because key market segments û including the natural audience for this film û are out of school and looking for entertainment. With a May 30 release date, Disney and Pixar clearly recognized that they were likely to capture audience interest and to provide an entertainment vehicle on the Memorial Day weekend û a time when family-oriented entertainment is in high demand. This was