Cool. I would go into the european or auteur films. Also Asian films like wkw.

Yep, that's definitely on the list. The only issue that I am battling with is how to take something as a positive signal to build these patterns on. Because if i take the entire universe of films, there is probably every variation of arcs. But some have worked / resonated with audiences and some haven't. The way European Cinema has been funded (predominantly through governments) mean that they do the film circuit and then disappear - and the filmmakers are off to make the next film grant. How do i find the signal to identify whats a good film or not.

There was this snide remark that someone in hollywood made where they said, they make movies whereas Europe makes (art) cinema.

I havent figured out how to resolve that yet.

But yes to korean, japanese films - that's very much on the list.

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mmooss 8 hours ago | parent [-]

This is all very interesting and I appreciate your commitment to serious research.

> How do i find the signal to identify whats a good film or not.

What is your the definition of 'good'? Without having that, answering the question of a signal is impossible, of course.

Popularity is not necessarily a signal of resonance. It's arguably a consequence of distribution; marketing; appeal to the population of potential movie goers, often thought to be males in their late teens and early 20s going in groups; non-challenging content; etc.

Many films considered 'great' have not been popular, which of course is true in many artforms. Also, what matters more in your measurement, a film that resonates a little for many, or one that resonates a lot for few?

(Sorry if these questions are answered on the website; it's not loading for me.)

	▲	phaedrus044 8 hours ago \| parent [-]
		I apologise. I had to push a quick update on the site since some folks had readability issues. Please do try again - hopefully its working. So curiosity aside, I do keep reminding me what problem am I solving and for whom? Auteurs don't care for anyone's opinions and they don't need the tools nor will pay for it. I definitely do want to study "great" films - not just popular, but films that are timeliness. The next thing on my agenda is to benchmark the WGA 101 Best Screenplays of the 21st century and after that benchmark the WGA 101 Best Screenplays of all time (which starts with Casablanca). Even if there are no users for it, I'd be curious to find out how things have evolved and what stands out. But as a nimble startups, don't think auteurs and art house filmmakers would be customers. And they shouldnt - they should do what they do, and go with their gut.