The slate maximises commercial success by focusing on genres with the easiest route to market, where it's not necessary to 'spend big'; following market and consumer trends; and then also having a few higher risk genres but mitigating the risk by giving them a unique context or angle and spending more on those to ensure popular cast for commercial wins.
That said, all projects will have a strong character focus so even for lower budgets, top talent will be attracted to compelling roles in enthralling stories.
The stories are also chosen with production in mind, with rich stories for compelling watching, but with locations and plots only needing relatively smaller production spend for a high production value. WE HAVE THE PRESIDENT'S DAUGHTER, THE TARGETEER and KOPPEN are all prime examples of MVP's business model.
Overall, MVP chooses fresh, compelling stories, not focused on a single genre, and minimises risk by producing a range of appropriate budgets across the slate to entice top talent and exciting directors to recoup large gains. Coupled with this, MVP spends spends prudently, sourcing global locations to optimise soft money, co-production funds and tax relief.
The list below summarises the commercial viability of genres. As per the graphic above, this slate leads with the most commercial genres; Spy-action, thriller and horror.
Commercial risk by genres
HIGHLY COMMERCIAL: Spy thrillers, action, horror, science-fiction, best-seller novel remakes.
COMMERCIAL: Romance, rom-com, comedy.
Biographies and true-life stories are now prevalent and thrive at the box office.
HIGHER RISK: Fantasy, art-house, period-drama.
Then the most commercial romance films have the tragic element, such as Ghost, The Notebook, PS I Love You and the giants, Titanic and Romeo & Juliet. So LOVE+1 moves from commercial to highly commercial. The budget is also enough to cast A-list talent, furthering the commercial value.
Then adjusting to the biography/true story trend, THE TARGETEER shows a unique glimpse into a top secret world via a riveting true story, so also realising the highly commercial spy-action-thriller genre.
Lastly, all media and production is focusing on the current golden age of TV, which no slate is complete without. SPY HOUSE delivers that TV project in parallel with being a leading commercial genre, and a fresh angle on the stock spy show.
WE HAVE THE PRESIDENT'S DAUGHTER is a highly commercial project thanks to the strong appeal of the action and thriller genres and the bold, exciting premise of the story. The A-list cast of actors further ensures that the project has an excellent chance of making a significant profit. This is all with a low budget due to single location and premise; the perfect film to kick the slate off and bring a high yield.
THE TARGETEER budget is high enough to attract A-list talent and give high production values needed for such an epic story. But with claustrophobic and dilapidated locations actual production costs can be kept relatively low. Another project fitting the prudent MVP business model.
KOPPEN is all set in a sleepy English village with an unsettling atmosphere feeding the deep psychological horror. These elements all mean the fresh angle on the Pied Piper story can be told using a small production budget and maximising soft money from either Ireland, Scotland or central England. Yet have high enough production values for a theatrical release with no unnecessary risk eating into the profits for expensive talent for what is a highly commercial genre-market anyway.
THE CALIPHATE is the slate ‘tent-pole’ in terms of budget. Having a Spy-action epic written by both a counter-terrorism officer, Iraq-vet, who is also an Oxford University scientist alum means THE CALIPHATE is both erudite in the espionage and has a technological and visceral, gadget-rich future world.
With “stuff never seen before”, in a spy genre it is already attracting big Hollywood interest, will land a leading action star so it will be made on a big budget and recoup a huge Box Office and long-lasting gross-income.
SPY HOUSE is also big budget, but will have network security as a TV series and secure a solid commercial yield. That is in the UK before it will be exported to other countries and also scope to be remade in the US for further yield.
Then the other projects are chosen at appropriate medium-level budgets to attract appropriate A-listers and top directors.
These films are all chosen for global theatrical release and a high commercial yield.