Studio executives claim the high cost of making films is the result of the increasing importance of the overseas market, the cost of franchise films they can merchandise at stores or exploit in sequels and in theme parks, and the fact that actors and crew involved in a studio picture expect to be paid top dollar and are unwilling to cut their fees as many do when making independent films (Goodell, 1998, p. 14). There is also fear among these executives that if they make more risky films and they fail at the box-office, they will lose their jobs (Goodell, 1998, p. 14). This latter explanation also reveals why so many studio movies are indistinguishable from one another. Once the studio finds a successful formula for a movie, it will rely upon that formula until it finally fails.

An alternative to the studio film is the independent film. Studios periodically take risks with independent filmmakers, especially if they feel those filmmakers have their finger on the pulse of the large youth market (Goodell, 1998, p. 7). But Goodell argues that for these filmmakers to remain fully independent, they must find financing somewhere other than the studio. Not

Any given director's shooting ratio can be determined through an analysis of the shooting ratio on his previous productions. This is another reason why producers and investors prefer directors with established track records. However, the vagaries of production can increase or decrease a director's shooting ratio unexpectedly. Bernstein advises that careful scripting and pre-production planning can be used to reduce the number of retakes (1997, p. 265). In addition, most movie productions now use video assist to the film camera (a video monitor) that allows the take to be copied onto video tape and then reviewed, thereby reducing the number of retakes (Bernstein, 1997, p. 265).

Film, more than any other art form, is tied into money (Bernstein, 1997, p. 251). It is expensive to produce. Investors expect a return and directors who go over budget are not popular. The accountant must keep a constant track of a film's spending so the producers will know immediately when a film is in financial trouble. Certain bonding firms, which offer guarantees on behalf of the producers to the investors, can step in and try to salvage a film if production accounts show it running behind schedule or over-budget (Bernstein, 1997, p. 251).

During pre-production, the producer will assemble the production team that will take the film through pre-production (Bernstein, 1997, p. 244). Most of the personnel hired at this time will also remain throughout principal photography (production), so the