In 2024, Hollywood saw something it never expected: six films with budgets north of $200 million each, yet only half managed to break even—let alone turn a real profit. For studios betting on massive tentpoles, this isn’t just unlucky—it’s part of a growing pattern that’s reshaping the movie business.

So why are so many so-called “can’t-miss” blockbusters losing money? The answer lies in how the industry has changed—and how audiences have changed with it.

The Old Hollywood Playbook

Back in the mid-90s, movies had a clear financial path:

• Theatrical run: Films owned the box office exclusively for three months.
• Home video sales: VHS (and later DVD) acted like a second theatrical release, often doubling profits.
• Merchandising: Toys, soundtracks, and collectibles turned popular films into billion-dollar franchises.

In 1995, only three of the year’s top 25 films failed to triple their budgets, which meant most of Hollywood’s bets paid off. Compare that to today — where breaking even is celebrated as an accomplishment — and you see how much has shifted.

The Streaming Disruption

The biggest blow to the blockbuster model came not from competition between studios, but from streaming. With most movies hitting platforms within 30–45 days of release (or debuting there directly), audiences suddenly had little incentive to rush to theaters. Why spend $60-plus for tickets and snacks when, within weeks, you can watch at home for the cost of a monthly subscription?

And here’s the kicker—streaming revenues don’t come close to replacing the money Hollywood once made from DVD sales. As actor Matt Damon once explained, DVDs were a safety net: if a film underperformed theatrically, physical sales often bailed it out. That revenue stream is gone—and studios are still scrambling to replace it.

Why Sequels Dominate (and Originals Struggle)

Looking at the spreadsheets from 2023 and 2024, one thing is clear: the safest bets are sequels, remakes, and franchise films. Built-in fan bases, nostalgia, and existing marketing machinery give them a cushion that original stories just don’t have.

In fact, high-budget original movies fail roughly 9 out of 10 times. It’s no wonder studios lean heavily into superhero universes, live-action Disney remakes, or multi-part adaptations like Wicked. These aren’t just creative choices—they’re financial insurance policies.

Meanwhile, smaller independent studios like A24 or Neon are thriving. Their secret? Lower budgets, creative risks, and niche audiences. These “smaller” movies often make back 10x their cost, while blockbusters struggle to break even.

The Event Movie Still Works

But not all hope is lost for the blockbuster. When a film becomes more than just a movie—when it becomes a moment—audiences still show up in droves.

Barbie and Oppenheimer (a.k.a. “Barbenheimer”) proved this in 2023. Different as they were, both benefitted from a cultural wave: fans dressing up, meme-sharing, and making double-feature plans. The result? Two record-breaking successes released on the very same day.

The lesson: for theaters, the movie itself isn’t enough. It has to feel like an event.

The Three Paths Forward

Hollywood is at a turning point, and future success seems to hinge on three strategies:

1. Franchise giants – Remakes, sequels, and superhero sagas that provide financial reliability.
2. Event-driven films – Culturally viral movies that become must-watch theater experiences.
3. Indie innovation – Lower-budget productions that can experiment, surprise audiences, and deliver massive returns on modest investment.

What This Means for Moviegoers

Ultimately, your movie ticket is your vote. If audiences want more risks, more originality, and more variety, theaters are the place to show it—not just streaming.

Yes, home viewing is cheaper, cozier, and more convenient. But theaters still offer something you can’t entirely replicate: a distraction-free, immersive, collective experience. And when a film earns that buzz, it still has the power to fill auditoriums and create lasting cultural moments.

For Hollywood, the message is clear: bigger budgets don’t guarantee success anymore. Creativity, strategy, and timing do.

Mike Talplacido, creative director and filmmaker, sat down for an in-depth conversation with Houston Comedy Film Festival director Roselyn Omaka to discuss his celebrated short film, “The Manalos (New Beginnings).” The film, a comedic look at a Filipino American family’s move from the Midwest to California, shines as a finalist at the Houston Comedy Film Festival and offers a heartfelt take on identity, assimilation, and cultural connection.

Uplifting Filipino American Voices Through Comedy

Early in the interview, Mike shared his core motivation—uplifting Filipino Americans by telling stories that reflect their real lives and experiences. He spoke candidly about the importance of representation and the need for Filipino voices to take center stage in U.S. media, highlighting, “that’s really the foundation of why I do things: to help share more stories about us, about our culture, about our characters”. Roselyn applauded the relatability and cultural authenticity of “The Manalos,” noting how seamlessly Mike blended universal themes with specific Filipino American nuances, making the story “relatable” even to those outside the community.

Crafting the Sitcom-Style Family Story

Mike emphasized his vision for a comedic, sitcom-influenced style that centers Filipino American experiences. Unlike his previous work in drama, he wanted to venture into comedy, resulting in a film that balances humor with the realities of adaptation and family dynamics. Roselyn was especially impressed by the film’s comedic timing and the warmth that radiated from the ensemble cast.

Casting, Collaboration, and On-Set Memories

Casting was a community-driven process relying on word-of-mouth and social media outreach within the Filipino American community. Lead actor James Luntayahu’s performance stood out, earning praise for both his commitment and his comedic presence. Mike recounted a memorable scene involving James consuming Tic-Tacs as props— a testament to the actor’s dedication. The director called working with the cast, especially the children and first-time actors, one of his favorite aspects of the shoot, noting, “for me as a director, the best part is being able to work with actors… that’s what makes it fun.”

Overcoming Challenges: Locations and Continuity

Mike detailed production challenges, such as last-minute location changes. Securing the crucial grocery store scene required a scramble that was only resolved days before filming, demonstrating the resilience and adaptability of his team. Since the store remained open during filming, continuity and background changes were constant hurdles—but these were managed so skillfully that audiences would “never think twice” about them.

Advice for Filmmakers: Positivity Pays Off

In discussing set culture, Mike underscored the importance of a positive, upbeat environment, both for cast chemistry and for audience enjoyment. “As the director, you have the responsibility to set the tone for the whole shoot,” he told Roselyn, stressing that genuine behind-the-scenes fun translates to an authentic and enjoyable final product.

Favorite Moments: Creating Family On Screen

When asked about his personal highlights, Mike pointed to the family interactions and the challenge of orchestrating natural, dynamic scenes with several actors, especially children. His experience as an uncle informed his directing style, helping create playful, lively energy among first-time and veteran performers alike.

The Future: Features, Series, and Character Arcs

Mike revealed he’s open to expanding “The Manalos” into a feature film or web series. He’s especially interested in developing supporting characters further, such as the real estate agent portrayed as the “Filipino version of a Karen,” hinting at plenty of comedic possibilities ahead.

Mike’s Legacy: Continual Learning and Cultural Impact

In a thoughtful conclusion, Mike expressed his hope that each project will serve as both a learning experience and a platform for new voices: “Each project, I take as an opportunity to learn something new… always thinking, how can you get new experiences, skills, people, or friendships?” Above all, he aims to build a legacy anchored in sharing Filipino American stories honestly and joyfully.

Mike’s nuanced, lively conversation with Roselyn Omaka reaffirmed the power of comedy and representation in film—inviting theater audiences to laugh, reflect, and see themselves on screen in new ways.

Making an independent film is often a labor of love that can take years, countless hours, energy, and a significant financial investment. Yet, for many indie filmmakers, the hardest part is recouping that investment and making money once the film is finished. A common pitfall is losing a large portion of revenue—often half or more—to sales agents, distributors, and marketing expenses. However, with the right knowledge, strategy, and effort, indie filmmakers can maximize their film’s earnings without giving away so much control or profit.

Here is a comprehensive guide to keeping more of your film’s revenue and ensuring your film gets the audience and financial return it deserves.

Understanding the Distribution Landscape

Most indie filmmakers traditionally rely on sales agents and distributors to get their films to audiences. Sales agents typically take 15-20%, and distributors can take another 20-35%, easily cutting your revenue share by half right from the start. Additionally, marketing costs that may be deducted can range from a few thousand to upwards of $15,000, further eating into profits. The accounting is often opaque, making it difficult to know how much you truly earned.

Distributors nowadays tend to focus on worldwide rights deals and use aggregators to place films on streaming platforms like Amazon, Apple TV, and Tubi. These deals often do not fetch the best revenue for most indie filmmakers. Many distributors also do limited outreach, reaching only a small number of potential buyers, which can limit the sales opportunities for your film.

Becoming Your Own Sales Agent

One of the most important shifts indie filmmakers must make today is to become their own sales agents. Instead of relying entirely on intermediaries, you should learn the art and business of distribution:

• Research and build an extensive list of distributors worldwide. Top filmmakers have compiled lists of hundreds of distributors by country and genre. Going wide increases your chances of multiple revenue deals.
• Send personalized pitches to hundreds of distributors, showcasing your finished film, cast details (including social media following), genre, logline, and trailer. Ask if they want to see the full feature.
• Don’t settle for a single distributor or a big-name company that may not prioritize your film. Instead, aim for multiple minimum guarantees (MGs) from niche distributors in individual territories like Germany, Japan, and the UK.
• Maintain transparent communication and track every outreach effort carefully.

Pitching and Marketing Tips

When pitching your film:

• Highlight key genre elements and target audience since distributors are often risk-averse and look for specific film types.
• Include social media metrics or fanbase counts, which can make your film more attractive.
• Provide a strong one-minute trailer and a concise logline.
• Be prepared for rejections; even a 5% positive response rate is success.

Marketing is also crucial and can’t be left solely to distributors. Understanding and managing your marketing efforts—or at least closely overseeing budgets and strategies—ensures your film stands out and reaches viewers directly.

Self-Distribution and Hybrid Models

If traditional distribution offers no appealing deals, self-distribution can be a viable option:

• Platforms like Vimeo On Demand, Amazon Prime Direct, and YouTube allow you to upload, price, and market your film directly to audiences while retaining full creative and revenue control.
• Aggregators like Filmhub and Quiver help place self-distributed films on multiple streaming services, often for a reasonable fee or revenue share.
• The hybrid distribution model combines some traditional distribution deals with self-distribution, maximizing revenue streams, audience reach, and control over your film’s destiny.

Takeaway: Be Proactive and Entrepreneurial

The indie filmmaking world is now as much about entrepreneurship as artistry. Knowing distribution essentials, taking ownership of your sales process, and actively marketing your film are no longer optional—they are key for financial success.

By investing time in outreach, exploring multiple territories, securing minimum guarantees, and considering hybrid or self-distribution approaches, indie filmmakers can keep more of their earnings, increase their film’s audience, and avoid being sidelined by opaque deals and slim returns.

The days of handing your film over to a distributor and hoping for the best are gone. The winning formula today is to be your own sales agent, marketer, and advocate—empowered to make your indie film pay off.