As with results in all other professions, some films -- and not always those that one believes will do so -- are hugely successful commercially, at least in the US, while the overwhelming majority of others have little to no commercial success. What is often interesting is that at least some of those that are hugely successful commercially can largely be forgotten within a few years while at least some of the lesser-known others gradually achieve new life, either via new media (DVDs, etc.) or new markets (sales to TV networks in Europe, Asia, etc.,) where the films may not have been previously released.
In addition to the viewing public's familiarity with and liking for the actors or directors featured, together with plot lines, filming techniques, special effects, etc., in the film itself, part of an initial commercial success can be explained by dedicated marketing and distribution efforts ... but not always. "The Blair Witch Project" is one film that was primarily publicized on the internet, to great commercial success, especially given that the film itself did not cost that much to make, at least, not initially. The Wiki link above estimates, however, that while the initial costs for the film were as low as USD 20,000, by the time that the licensing rights were purchased, the budget had increased to as much as USD 750,000, because new sound remixes had to be recrafted and scenes where changes were needed had to be reshot. The point is that it takes a LOT of money to make a film with any hope of success, and even with a LOT of money, "success," at least commercial success, is never guaranteed. And commercial success is what gets the bills paid.
Apart from everything else, IMO, there are also at least two wild card factors: LUCK and whimsy. I have capitalized "luck" because it encompasses a lot of things, including timing, opportunity, fortuitous contacts and perhaps even Divine assistance, in addition to hard work and creativity. "Whimsy" is something else. It is that almost indefinable something in a film that resonates with someone so movingly that the individual favorably publicizes the film to everyone within earshot. Human nature being what it is, the first individual's enthusiasm can cause others to become equally enthusiastic about the film, even where they may not initially have been impressed. Depending on the general charisma of the film's advocate(s), it can, commercially successful or not, attract a dedicated following and become a "cult film."
I was reminded of this last week by a late-night film featured on SF Zwei. This is a German-speaking Swiss TV channel that frequently broadcasts US or British feature films and series in bicanal (dual audio) so that if the original language of a particular film or other broadcast was in English, merely pressing a switch on the remote will ensure that the viewer can hear the audio in the original language. This is true for all Swiss TV channels. So long as the bicanal symbol appears in the TV Guide, one can watch films and programs in the original English language rather than in French, German or Italian. That feature has been a lifesaver for me and my guests since I had to give up my international satellite system when I moved to this apartment. [According to our bylaws, I can't have a satellite on my balcony, no matter how discreet, although I have actually spied a few here since I forewent my own.]
The film was called "Never Die Alone - Karriere eines Gangsters" ("Never Die Alone" is the English title). It was quite late at night and I was already yawning, so I didn't hold out much hope of lasting through it. Suddenly, however, I realized that one of the leads was Michael Ealy. I have very much been a fan of Michael Ealy, dating back to when I first remember seeing him. That was in the 2005 cable miniseries "Sleeper Cell," where he was excellent as undercover agent Darwyn al-Sayeed. Besides, Michael is a Maryland native, born and raised in Silver Spring. Suddenly, I wasn't yawning any more.
This experience reminded me of another film that I watched in the past year, the 1985 "To Live and Die in L.A." I had never seen it before. In spite of all the violence ... which I really do not like ... I watched the film because of an actor that I liked. I also liked the film, although to say that I "enjoyed" it would be a stretch. There were redeeming moments of very funny -- and very black -- humor, however. This time, the actor in question was William Petersen. Although Petersen is much more familiar to most as Dr. Gil Grissom in the original CSI series, I first remember seeing him in "Manhunter" in 1986, long before Anthony Hopkins's portrayal made Hannibal Lecter a name to remember ... with fear. I've been a fan since. Unlike "Never Die Alone," "To Live and Die in L.A." was a commercial success at the time, not hugely, but definitely, even though many critics and movie audiences were largely unimpressed. It has, however, aged well, was recently re-released on DVD and, as I noticed when I was last in Maryland, was frequently appearing on cable. It too seems to have attracted a cult following.
But his commercial successes since his advent into independence have been few and far between, so far. He has had critical success with early efforts, but critical success and income do not always seem to go together, as we can clearly see. One day ... I am sure ... something wonderful WILL happen.
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