Yesterday, I came across a thought-provoking blog post on The Economist. What grabbed my attention was a tweet about managing risk in the film business. I have been thinking a lot about the point of this post. To me, the thesis statement is that Hollywood movie studios manage their risk by going for the franchise model (read: sequel or series collection of movies centered on a book or a toy that people are already familiar with). I believe it is worthwhile to dig a little deeper and demystify risk in this context.
First, let's identify the stakeholders. At a minimum, we have the movie studios, film-related people (e.g. actors, directors, crew), book publishers or toy producers, movie theaters, and audiences. Second, let's establish that risk is always a composite of the chance of something (usually negative) happening and the magnitude of the impact of that happening. The post and the associated data tries to illustrate that once familiarity has been established in the marketplace via another product, it can lead to a steady audience in the movie theaters and thus generate seemingly stable cash flows for the studios. However, there are a number of details missing from the analysis.
Essentially, movie studios are not dabbling in any risk i.e. they are playing a very safe bet by going with a film only after some proven market success of its root theme, whether through a book or a product. There is simple cause and effect here; no fancy risk management per se. Because the book has captured an audience, or the toy has gripped children worldwide, the effect is safety for the film studio to invest in the project to make a related film. Supposing this were not the case, then at best I look at the movie studios as transferring their risk to the book publishers or toy producers - somewhat akin to "drink the suspect liquid; if you survive, I will take a sip of it too".
The other piece that is missing here is probability information. This post seems to talk about only the successful franchises - what about others that intended to start as franchises but because the very first release was a failure, the franchise could never come to being? To me, this is the classic mistake of discussing risk only in terms of absolute outcome values, omitting the likelihood data. Finally, the "safe gambles" taken by the movie studios do not result in much of an altered (read: more positive) risk profile for the theaters or the audiences. A conditioned patron may end up with a worse experience after watching the film (relative to the joy of reading the book or playing the toy), which implies greater risk to the audience and others in the ecosystem. Real risk management, like insurance, would perhaps compensate for the sense of loss, if it were measured and validated.