INDEX
• Preface: Indoctrination by technology.
• Average Budgets for (USA) movies.
• Highest Grossing: Income, USA movies.
• Movie Franchises: Box Office History.
• Yearly Revenues : Domestic USA Gross.
• Most Expensive : List of, movies produced.
• Serials, (USA) : Personalized self-imprinting.
• Sabotaged Intent: Intensity imposes Authority.

  Widescreen: The BIG Picture in Lexigraphic symbols.

PREFACE: Indoctrination by technology.
Technology enables us to manipulate our reality, our self-responsibility, our relationships.
It also enables us to accumulate energies, accelerate speeds, express power, impose force.
Distractions are the extension of the consciousness stimulated during fleeting periods of Pause.
Technology enables us to amplify and extend our distractions into forms of dramatic obsessions.

Paintings, and later photos, films, videos, and movies ... have allowed humans the opportunity to pull the Past into the Present and revere it into the Future. It is an extension of the Original Addiction mandate of "Never Enough." Favored topics have been pastoral scenes, nudes, portraits, war, and, religion. In earlier times, the "artist" was rewarded and motivated into their expressions by the wealth and gifts of support from their retainers. With resources of "enough" time and housekeeping, images depicting an ideal of a preferred experience, or, the reality of a brief encounter .. could be FIXED in time and visually. These stimulants could active one's memory, one's projected hopes .. and make available the best Past that brought one INTENSE emotion, or, which returned one to a past vibrance and beauty of youthfulness, or, status.

Time standing still, events, unchanging, and repetition creating a ritual of dissociated absence of resolution ... opens opportunities for the introduction of and utilization of technologies which provide greater involvement and change. Drawings layer into paintings; photos accumulate into "moving" pictures; "silent" film graduates to "talkies"; features extend into episodes; sensual slides into sexual; mystery draws out violence; social becomes personal (viewing); news goes harsh with documentaries; living deteriorates into observation ... the ultimate reduction of mental interaction into the absorption of fantasy. There is NO dialog between spectator and presenter. Detail and experiences are authoritatively impressed with deception to manipulate, sell and upsell, the attitudes and beliefs of the slave. I'll give you LIFE for the subordination of your impulses in support of the economy. Pay more and you will receive more ... more Quantity, more Quality, more Drama, more Promises. YOUR Safety, Security, and Enjoyment are Risk free .. behind the technology.

Average Budgets for (USA) movies.
http://hollywood-movies.yoexpert.com/movies/what-is-the-average-movie-budget-for-a-hollywood-m-1403.html
Answered by Ralph, http://hollywood-movies.yoexpert.com/movies/expert/2254.html

To answer what the average movie budget for a Hollywood film is, several terms must be defined.
First we must determine if by "average movie budget", we mean simply the cost of making the movie, or if we are including the money spent to market the film. Depending on the genre of the film, the size of the studio or distributor releasing the film, and the time of year that the film will be released, marketing costs may run from $1 million to $20-30 million, or more.

For the purpose of this question, let's decide to keep it simple and just discuss the actual cost of making the movie: "above the line" costs (Writers, Producers, Director, Actors) and "Below the line" costs (production crew, locations, equipment, materials, food, and incidentals.) So what is the average now? We don't quite have enough information to calculate it yet. Even though we've eliminated the marketing costs in our calculation of the average movie budget, there is still another decision we have to make: how do we define a "Hollywood Film"?

At the most basic level, one could define a "Hollywood film" as one that is released and/or distributed by a major studio. We have to keep in mind though, that studios often acquire and distribute films that they did not actually make, but were originally produced independently. One of the best known examples of this is "The Brothers McMullen" (1995) by Edward Burns. He produced the film himself for $25,000, but after winning the Grand Jury Prize at the Sundance Film Festival, 20th Century Fox purchased and distributed it.

Of course, much more money was spent to distribute and market the film, but since we aren't counting that into our calculations of average movie budget, the total cost of production stays at $25,000. Is "The Brothers McMullen" a Hollywood film then, since it was produced independently? Since it was acquired by a major studio and had a widespread theatrical release, it should indeed be counted as such.

So "The Brothers McMullen" is one of the movies with the lowest budget that can be considered a Hollywood film, but what about the projects on the other side of the spectrum? Movies such as "Avatar", "Pirates of the Caribbean", etc. Well, studios don't like to release "official" numbers, especially for huge, expensive blockbusters like those. They also may attempt to make a movie look more or less expensive to the public to suit their purposes, so numbers may differ from source to source. For example, some sources put the production costs of "Avatar" between $200-300 million, some say it was in excess of $300 million. Big difference. So what should you believe?

For the purpose of answering the original question, let's refer to the site www.the-numbers.com.
They list the top 20 highest movie budgets of all time according to the best information gleaned from studios, and the top 20 movies with the lowest budgets that earned at least $1 Million at the US box office. This is a good place for us to get a general average, because those 2 lists will give us a rough estimate of the total cost of both high and low budget movies that were theatrically released in the US.

In order to stick with our decision to only count movies that were distributed by a major studio, we will eliminate 7 of the top 20 lowest budget films, because they did not have major distributors. Here's the math:

   Highest Budget films (total production cost of top 20):      $4,589,000,000 
   Lowest Budget films (grossing at least $1 million @ B.O.):         $795,000 
                     Average Movie Budget of these 33 movies:     $139,084,697

This calculation is in no way definitive, as it only takes into account the highest and lowest budgets and excludes films that were not distributed by a major distributor, but it does give a realistic idea of how much the average budget is for a Hollywood film.

In recent years, the gap between the highest and lowest budgets has widened as studios spend more and more to attempt to lure people from their Home Theatre Systems and into theatres with 3-D effects and amazing computer animation. On the other side of the spectrum, as the cost of quality tools for shooting and editing movies has come down, and online movie consumption grows, budgets may become even smaller. But for now, it still costs about $139 million to make a major Hollywood film.

Highest Grossing: Income, USA movies.
http://en.wikipedia.org/wiki/List_of_highest-grossing_films

Films generate income from several revenue streams including, home video, television broadcast rights and merchandising. However, theatrical box office earnings are the primary metric for trade publications (such as Box Office Mojo and Variety) in assessing the success of a film, mostly due to the availability of the data compared to sales figures for home video and broadcast rights, and also due to historical practice. ...

Traditionally, war films, musicals and historical dramas have been the most popular genres, but franchise films have been the best performers in the 21st century ...

With a worldwide box-office gross of about $2.8 billion, Avatar is often proclaimed to be the "highest-grossing" film, but such claims usually refer to theatrical revenues only and do not take account of home video and television income, which can form a significant portion of a film's earnings. Once revenue from home entertainment is factored in it is not immediately clear which film is the most successful. Titanic earned $1.2 billion from video and DVD sales and rentals, in addition to the $2.2 billion it grossed in theaters. ...

When a film is highly exploitable as a commercial property, its ancillary revenues from merchandising can dwarf its income from direct film sales. Pixar's Cars earned $461 million in theatrical revenues which was only a modest hit by comparison to other Pixar films - but generated global merchandise sales of over $8 billion in the five years after its 2006 release, the most revenue ever generated by a franchise consisting of a single film.

Determination of and confirmation of Highest Earning amounts for movies is complicated by the following factors, and others: changes, trends, relationships.
• ticket prices
• inflation
• devaluation of the currency
• release in multiple formats
• population change
• growth of international markets
• audience demographics
• ticket sales counts
• industry marketing orientation
• the price index used
• the currency exchange rates
• distributor rental %
• audience tastes
• available technologies
• financing alternatives
• tax allowances & support
• political issues & news
• academy awards earned
• actor popularity/publicity
• promotional budget size/use
• release schedules vs accounting period
• numbers of re-issues to the market
• classification - ... rating
• remastering & special editions
• funds deferred to bribes/money laundering
• series & franchise groupings
• film distributor's share of box office
• inclusion/exclusion of foreign markets
• losses to counterfeiting & copying
• market/production Zone classifications

COMMENT:
The mass media distraction market has continued to amplify in tandem with trends in relationships, health status, economic intensification, international market competition, domestic wage reductions, population expansion, political threats of armed conflicts, and, technological conversion of reality experiences and visual deception. War movies provide mythical excitement and pride to the bored spectator. Musicals raise the emotional level of the discouraged and depressed into one of joy and hope. Historical dramas draw the self-possessed from the safety and security of their routine into the risk, loss, and tragedy of the achievers. Employed on the line, in an office, about the home, or, driven by one's profession ... movies inject a Pause of Excitement, Joy, and Thankfulness into one's lifestyle in the deception that it will bring balance. Like all sources of addiction, it's promotions promise one intensity of experience in bribery for a portion of the financial benefits of the other. What is losing continues to be lost: calm and pleasant shared times, patience and encouragement to enable change and learning, sensual periods of experience to add quality to intimacy, connection with the living environment from which our food is harvested.

Movie Franchises: Box Office History.
http://www.the-numbers.com/movies/franchises

Billions of dollars are invested in the production of USA movies each year, and,
billions of dollars are paid as admission fees, purchase costs of DVD or other recorded media copies.
These costs and revenues do NOT include those of other media sources such as TV, radio, Internet, Documentaries, non-USA movies.

Almost ALL of these economic resources are cultural forms of SPECTATOR entertainment which requires, repeatedly ... and of IMPRINTING value ... an Attitude of dissociation/personification of the material, an Action of passivity/calm, a Behavior of dependency/need, a Denial of depression/expectation of joy, and exclusion/non-collaboration. One most often does NOT effect ANY change on the realities presented. Often, the stories acted out, as a form of fantasy or myth, are projected imaginative stimulating scenarios manipulated from a true context of past, present, or future reality .. to force, or encourage the spectator to release any feelings of despair, hopelessness, depression, or anger .. which have arisen from their personal interactions at home, work, or politically. The amount of capital bribed from the consumer is an indicator of how greatly the individual feels the need to be released from their awareness of INADEQUACY, and, their addiction to a medium that promises to CHANGE their lives, yet never does for much longer than several hours. For a price, they can feel surrounded by a friendly membership while traveling through relationship experiences, without risk, and from which they will escape the fortunate winners ... in less than 2 hours.

Yearly Revenues : Domestic USA Gross.
http://www.boxoffice.com/statistics/yearly

COMMENT:
Every EMPIRE requires the preoccupation of its members is the seeking of a fulfillment of the promises of the culture so that the reality of the abusive interaction between the leadership and the slaves is withheld from the vision of the members. Membership is afforded to those who enforce the demands for production on the slaves so that the infrastructure, which is fueled by the profits and excesses of production, remains stable in its gradual expansion.

ALL empires recorded in human history have had an ECONOMIC infrastructure.
The SLAVES are those (aboriginals, convicts, impoverished, indebted, or, parents) who OWE an economic debt.
They have bought or sustained an economic LOSS in return for an economic (usually physical) Benefit.
MEMBERS are those who OWN, offer, and manage the Debt which forms the foundation of the Empire.
As populations become larger, more dense, and, more complex ... membership migration is possible.
Slaves may restrict their expense, accumulate their earnings, expand their savings, and, enter membership.
POLITICAL Distraction often involves Competition which introduces a greater intensity of Risk, Loss, and, Reward.
Without distraction, the Intense Consciousness of the afflicted individual encourages dissent, and, conflict.
Yet, Competition introduces the Fear of Loss of Freedom, Privilege, and, Acceptance to the member.
Movies and mass media provide an economic empire with a distraction factor to keep slaves calm.

The above listing reveals the social targets of the years noted: the immature, unsupervised, and, needy.
--- the young, teenagers, poorly educated, unemployed, (slave recruits) and, slaves.
Most other persons are too occupied with their career development, employment roles, family obligations, relationship responsibilities, and, maintaining their Membership status.

Most Expensive: List of, movies produced.
http/en.m.wikipedia.org/wiki/List_of_most_expensive_films
http://en.wikipedia.org/w/index.php?title=List_of_most_expensive_films

Ben-Hur (1925) was the most expensive film of the silent-era, possibly holding the record for over twenty years.

Due to the secretive nature of Hollywood accounting it is not clear which film is the most expensive film ever made.

Spider-Man 3 officially holds the record with an acknowledged cost of $258 million

Pirates of the Caribbean: Dead Man's Chest and its sequel Pirates of the Caribbean: At World's End were produced together on a combined budget of $450 million, making them the most expensive production.

More recently there have been reports that Avatar is the most expensive film ever made with speculation that it cost $280 million.

The cost of film production rose steadily during the silent era, with Ben-Hur (1925) setting a record that lasted well into the sound era.

Television had a direct impact on rising costs in the 1950s and early 60s as cinema competed with it for audiences, culminating in 1963 with Cleopatra; despite being the highest earning film of the year Cleopatra did not earn back its costs on its original release.

The 1990s saw two thresholds crossed, with True Lies costing $100 million in 1994 and Titanic costing $200 million in 1997, both directed by James Cameron. Since then it has become normal for a tent-pole feature from a major film studio to cost over $100 million, and an increasing number of films are costing $200 million or more.

This list contains only the films that are already released to the general public, and no films that are still in production, post-production or just announced films, for the reason that these costs can still change in the production process. Listed below is the negative cost: the costs of the actual filming, and not including promotional costs (i.e. advertisements, commercials, posters, etc.). The charts are ordered by official budget amounts where they are known. Most studios, however, will not give a statement on the actual production costs, so only estimates by professional researchers and movie industry writers are available. Where budget estimates conflict the productions are charted by lower-bound estimates.

Serials, (USA) : Personalized self-imprinting.
http://en.wikipedia.org/wiki/Serial_%28radio_and_television%29
Companion Article: Serials, History of Mass Media, American.
02-Media/0-serials history -- USA-Media.html

The content from resources addressing this associated medium is reviewed, recoded, and highlighted in the companion article. Below, is the Comment added into that article.

Spiritually Guided Comment, 2014-07.

Sabotaged Intent: Intensity imposes Authority.

Throughout the history (real outcomes) of mass media, the dramatic (intense) portrayal of issues, principles, choices, and, fears has usually resulted in the Audience accepting and adopting the fantasy as real, and, the decisions and actions as sanctioned. This is most disheartening to writers who have INTENTIONALLY written stories which they expected would be so shocking and morally objectionable, that the movie or other form of entertainment-imprinting would REACT, and be motivated to take action and voice a rejection of the tone expressed in the story. What began as an intellectual portrayal on an immature attitude in a novel, has repeatedly been reframed into a movie which the director and producer were motivated to satisfy the public and bring financial success to themselves. To this COMMERCIAL end, story lines and plot endings have been reversed, from tragic endings of loss .. into fantasies of hero domination over and destruction of the evil revealed. The audience, many times, has accepted such dream stories as a confirmation of the benefit of THEIR Passivity and the inevitable rescue of society by some variation of individualistic vigilantism, or infrastructure domination. Uncensored, the audience is conditioned to accept the production, as sanctioned ... the right thing to do. With the investors accruing a huge profit, more reversals of plot lines are encouraged.

The original novel from which the movie "Dirty Harry" was made, was INTENDED, by the author, to suggest that the vigilante justice of the hero was objectionable to civil rights and the justice system and that cultural changes, if and when made, would discourage such actions, and, safeguard personal freedoms, and, justice. Such a directorial and producer context of leadership would have irritated the spectator public, encouraged political intervention in the justice system, and, threatened to encourage civil unrest and conflict. Such outcomes, while providing opportunities for an advancement of political maturity and individual responsibility ... would most certainly have diminished admission sales, and, encouraged political adversity towards the director and producer. Better to sell immaturity, reaction, and violence. The same was true for the movie series "Death Wish". In each of these, and many similar portrayals, the public spectator response was in support of the authoritarian, macho, vigilante ... and, numerous professional and casual individuals adopted and encouraged such an attitude. Acting on these motivations led to greater numbers of injustices, not fewer. They also delayed and slowed the improvement of policing and legal services as well as social service changes.

SuperHeros (Austin Powers, Batman, Paul Blart, James Bond, Charlie's Angels, Lara Croft, Death Wish, Die Hard, Johnny English, F/X, Dirty Harry, Harry Potter, Hellboy, Home Alone, Hulk, Iron Man, Mask, Mad Max, Madea, Men in Black, Peter Pan, Pink Panther, Rambo, Robocop, Shaft, Shanghai Noon, Sherlock Holmes, Superman, Terminator, Zorro) often originate in comic book and "action" novels in which "acting out" is presented as a positive alternative to patience, planning, negotiation, education, compassion, understanding, and, social assistance. Such AGGRESSIVE reactive interactions are an extension of immature emotional development, insecure and abused identities, neural development sabotaged by fetal alcohol spectrum, abandonment parenting, and strong peer pressure membership demands. They tend to be easily transferred to other individuals, are resistant to change, and, attractive to persons experiencing chronic depression from lack of boundaries, physical and emotional abuses, poverty, and other forms of membership exclusion and limitation.

In a mass media society, leadership and mentoring by spiritually empowered authorities and parents is required in the form of CENSORSHIP if the youth and inexperienced are to be allowed educational opportunities which include discernment and relevancy. Mass societies inherently provide access to more resources and opportunities with their accompanying risks of error and accident. A benefit often ascribed to culture and society is that the constructive experimentation and discovery of former and more mature individuals is made available to the younger and less experienced through processes of coaching, training, reward & discipline (membership), and, sanction (role, obligation, consistency). This transfer of wisdom can highly reduce the dangers normally present in an increasingly complex constructed environment. This has largely proven to become less beneficial for human mass populations, beyond certain levels of size and segmentation, for many STRUCTURAL reasons including these:

• AUTHORITY, Human Based & Biased:
  Once humans are placed into positions of Authority, the many privileges of Power become an attraction frustrated by the sacrifices of responsibility and negotiation. When decisions become more intense, the Authority eventually begins to use the Ego satisfying commanding approach involving less and less collaboration. Again, frequently, the guilt of cognitive dissonant decisions .. in which outcomes are chosen which are a benefit to one membership and disadvantageous to another, and, in which much energy is expended for what the public assume is a simple decision ... the human Authority begins to feel unappreciated and becomes open to considerations of illegal, or unreported, financial and other Ego pleasures.

• INDUSTRIALIZATION:
  The conversion of singular and independent self-responsible labor to multiple, politically directed, socially responsible production provides opportunities for massive collaboration and influence while removing personal choice and individual relevancy. What may be best for a sick or elderly person is challenged by the priorities and resources assigned to services and programs projected as being most universally beneficial. While the honestly and accuracy of each requirement and benefit is open to taint by deception, it is a more direct consideration in determining the needs of a single person than the abstracted and politically defined values and attitudes of what is best for an audience. Commercially, the economical justification for the production of a movie will be associated with what the level of maturity and the need for distraction is present, and confirmed by attendance, by the paying public. Inherently, there is little opening for mentoring, and, much for entertaining-by-distraction. While writers and directors may fantasize about the POTENTIAL of their creations to inspire revelation and change, history provides many examples of opportunities lost and delayed to the point of issue avoidance.

• TECHNOLOGY:
  All early forms of a technology are bulky, crude, costly, and, subject to failure.
  The expression of power from the exacting repetition it can provide together with the frequent and accumulating reduction in labor cost per performance strongly promotes further development. In an expanding economy, which is a foundation of capitalism, there is a continuing tendency for incomes and surpluses to rise through the generations in justification of the efforts expended, goods acquired, risks taken, and, credit enslavement participated in. Mostly, the rise in costs is slower and affords the public greater sums for the purchase of services and products which are pleasurable, yet not necessities. Entertainment is one such service-product. As the numbers of spectators increase and their discretionary income rises, admission fees and entertainment incidentals become affordable to more, at higher costs. With this market of increasing opportunity for sale and profit, more costly and sophisticated technologies can be innovated and more costly and elaborate productions can be funded.

• IDEALISM:
  The authoritarian and political nature of mass media has become so imprinted and legendary that those partaking of it are scarcely aware of its historical influence. The most elementary form of mass media, in which symbols of value are exchanged between persons who agree on some uniformity of worth, is currency. Nations have risen and fallen on the basis of the confidence which the masses have placed in a political symbol which carries a sanction of specific value. During both the World Wars, newspapers were politically controlled and used by government leaders to inspire their citizenry to pride and rage. Lies describing terrifying behaviors of the enemy motivated new recruits to stride into battle prepared with hatred to slay their enemies .. who were often no worse or better, as humans, than themselves. Equally, generals and infantrymen were elevated to the level of saviors for battle wins often the result of strategies of deception, changes in weather patterns, incompetency of enemy tactics, or, the failure of the technology of the adversary. The American movie industry received its biggest historical economic shot from the financial sanction given to promote the American war effort. War has remained a key subject of movies as it encourages angry, frustrated, and testosterone intense teenagers and young adults to receive participation in war as a means to releasing their aggression.

• MASS MEDIA:
  The persistent myth of the mass media is that its availability demonstrates the political freedom and social awareness of the citizens in the audience country. In totalitarian dictatorships and communist infrastructures, the financing for productions is often solely available from government institutions. Those departments usually receive their funding in accord with the subject preferences of the politicians and influential leaders who approve their funding. In more directly commerce driven socialist and capitalist nations, production funding hails more from private investors and corporations than from direct political sources. Yet while the former is often driven by the whims, fears, and pride of the leadership Egos, the freedoms of the directly commerce clothed industry is restrained by a demand for profit safeguarded by manipulative promotions, and promising pleasure or distraction to a depressed, overworked, and often abused credit bound slave. The freedom of the press depends upon the bribery income received from advertisers representing new products, services, or, government policies. The most certain form of flattery likely to be mirrored in the support of editors is the purchase of their advertising space.

Widescreen: The BIG Picture in Lexigraphic symbols.

The following TEN sentences are specifically constructed by Spiritual Guidance to communicate, as broadly as possible, to the greatest number of Spiritually Guided and constructive Visitors, an understanding of the scope and limitations of the human species genetic bioengineering degradation. While the words are in the ENGLISH language, they have been selected and organized more according to their IMAGE-Pictorial properties than to their rational definition.

1. Addiction traumatizes innocence with guilt, forcing a consciousness contagion seeking acceptance, with doubt.

2. Authority entraps energy block compulsion and influence, always, the snares of persuasion, denial, deception, attachment, anxiety, lust, hate, loss.

3. Distrust manipulates cognitive dissonance, forcing a stall in immaturity, and, turns anger and obsession into blame and boundary loss.

4. Snare the young with evil and use addiction to entrap the weak with authority enhancing evil to manipulate anger into hate.

5. Intensity persuades the rejected to deceive and influence fear to stall compassion, always, to accept blame.

6. Anger, as an addiction, becomes contagious by consciousness persuading leadership to compulsively build attachments.

7. Stalling maturity by deception, acceptance of authority intensifies rituals of fear into hate.

8. Consciousness always uses a contagion of fear to build attachment boundaryless addiction behaviors.

9. Consciousness persuades and manipulates deception through intensity to influence acceptance, always, of anger, as an expression of hate.

10. Human authority manipulates fear, with contagion, to blame attachment boundary addiction on God by reverence stalling.