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Stephen Follows

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Dec 16, 2025, 2:30:32 AM (yesterday) Dec 16
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Hullo! As the year wraps up, I just wanted to say thank you for reading, sharing, replying, and generally engaging with what I publish.
͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­͏     ­

Thank you

Hullo!

As the year wraps up, I just wanted to say thank you for reading, sharing, replying, and generally engaging with what I publish. A lot of this work only exists because people take it seriously and use it.

This year I have published 107 pieces of new research in the film industry covering how films are funded, made, and seen. I’ve looked at audiences, agents, and awards as well as numerous studies into profitability and financial outcomes.

The vast majority has been published entirely for free. The way I make that work is via the option to upgrade to a paid subscription.

If you use this work professionally (in meetings, decks, pitches, teaching, strategy, or decision-making) I’d really appreciate you upgrading to a paid subscription.

It’s normally just £4 a month or £40 for the whole year, but for the next week you can get 40% off an annual subscription with this link https://stephenfollows.com/xmas25

Paid subscribers get full access to all posts, to my crowdfunding masterclass, horror deep dive, and I’m around to answer questions. Plus it helps make this model work for everyone in which I can keep researching and publishing. I have some big plans for 2026, including my next report being sent free to all paid subscribers.

If upgrading isn’t possible right now, no worries at all. Spreading the word of what I publish helps massively too.

Thank you again for all the support this year.

Stephen

P.S. If you’d like to offer everyone in your company, school, or institution access I can set up a group subscription. Just reply to this email and I’ll sort that out for you.

Here are some of the paid posts from this year:

  1. What Netflix’s patents reveal about the future of watching movies

  2. Are directors who went to film school more successful than those who didn’t?

  3. The five biggest concerns facing US cinema exhibitors today

  4. What the exhibition sector thinks the next generation of cinema-goers wants

  5. How to prepare for ANY film festival

  6. What patterns do profitable films share?

  7. What’s the biggest barrier to cinema-going?

  8. How concentrated is agency power among top movie actors?

  9. What types of films thrive on low budgets but struggle with more money?

  10. Which types of movies make money despite receiving bad reviews from critics?

  11. Netflix owns some pretty strange trademarks, and they reveal a lot about the company

  12. Why studios cancel finished films, and who pays the price

  13. What cinemas are demanding of the film industry

  14. Why German films look so different at home and abroad

  15. Can cinemas survive the next 20 years?

  16. Exhibition execs on the post-COVID recovery and beyond

  17. How AI tools are already changing the jobs of film professionals today

  18. Why some countries have bounced back at the box office and others have not

  19. Can we measure if movies have become “too woke”?

  20. Eight takeaways from the 2025 Cannes Marché du Film

  21. What makes a movie re-release work (and what makes them fail)

  22. What makes Japan’s theatrical movie release schedule so different?

  23. Film marketing tactics recommended by the pros

  24. What Amazon’s patent filings reveal about how filmmaking may change in the future

  25. How film nationality is determined around the world

  26. How many Hollywood movies are made outside America?

© 2025 Stephen Follows
Somerset House, London, UK
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