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Why Do Hollywood Movies Cost so Much to Make?

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By Nathan B. Lawrence, Lawrence University 

Film is a big business. According to the Motion Picture Association of America’s Annual Report, movies rake in tens of billions of dollars at the box office every year, and this number is steadily increasing—but as they say, it takes money to make money, and Hollywood is certainly spending its fair share. Some of 2013's biggest movies had massive budgets: The Hunger Games: Catching Fire supposedly had a budget of more than $130 million, while Warner Brothers’ latest superhero epic, Man of Steel, had a price tag of $225 million.

Typically, the details of budget information are confidential, but there are a few examples floating around. This leaked budget for M. Night Shyamalan’s 2004 thriller The Village can provide a lot of interesting insight. Though its budget of around $70 million is smaller than a big summer blockbuster, the principles remain the same.

It's no surprise that lots of the cost of filming a big budget movie comes from the people in charge of making it. In the case of The Village, this was the case for its writer/director, who was paid more than $10 million for his services. However, these large fees are often attached to just about anyone who has significant creative influence over the film. For example, Robert Downey, Jr. was purportedly paid almost $50 million for his work on The Avengers.

Even for lesser-known actors, pay can only go so low. Guild rules mandate that actors be paid at least $859 per day. On top of this pay, the actors also need “fringes,” money paid in accordance with Screen Actors Guild instructions to provide for benefits and pensions, among other things. Also included are the other crew members who are needed to make production and post-production go smoothly and turn in a high quality finished product. Over a 30-day or longer shoot, paying the cast and crew alone can add up quickly. The number of people on a crew can be exceptionally high—but as things get more and more complicated, with the addition of effects like explosives or gunfire, every single person on that crew becomes necessary to make sure things run smoothly and efficiently. As it turns out, paying a very large crew to run on time tends to be much cheaper than paying a slightly smaller crew and having to worry about paying overtime.

The equipment and supplies needed to film the movie are very expensive, too. Standard 35mm color motion picture film runs about $45 per minute and a typical movie shoots about 15 times the amount of footage that winds up on screen, so a standard 120 minute movie could spend upwards of $80,000 on film stock alone—not to mention processing or the equipment to use it, which is usually rented for tens of thousands of dollars per week.

Set design and effects also take lots of money, especially in blockbuster action films. Blowing things up doesn’t come cheap; between safety regulations and the raw material itself, these costs can easily add up to millions. Even the stunts for The Village, a relatively tame film, wound up costing around $3.9 million. Visual effects add even more to these numbers; depending on the scale of a production, hundreds of VFX artists can spend months working on a film.

Marketing for films rounds out these numbers very nicely, typically adding an additional 50 percent to a film’s budget. 

The MPAA says that the film industry in the United States helps to contribute more than $100 billion in wages to the economy each year, and when you start to add these numbers up, it’s easy to see how that could be possible. Making a Hollywood blockbuster requires an enormous range of equipment and crew, and by the time it’s done, everybody has contributed a little piece to something much, much larger.

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Big Questions
How Does Autopilot Work on an Airplane?
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How does autopilot work on an airplane?

Joe Shelton:

David Micklewhyte’s answer is a good one. There are essentially a few types of features that different autopilots have. Some autopilots only have some of these features, while the more powerful autopilots do it all.

  • Heading Hold: There’s a small indicator that the pilot can set on the desired heading and the airplane will fly that heading. This feature doesn’t take the need for wind correction to desired routing into account; that’s left to the pilot.
  • Heading and Navigation: In addition to holding a heading, this version will take an electronic navigation input (e.g. GPS or VOR) and will follow (fly) that navigation reference. It’s sort of like an automated car in that it follows the navigator’s input and the pilot monitors.
  • Altitude Hold: Again, in addition to the above, a desired altitude can be set and the aircraft will fly at that altitude. Some autopilots have the capability for the pilot to select a desired altitude and a climb or descent rate and the aircraft will automatically climb or descend to that altitude and then hold the altitude.
  • Instrument Approaches: Autopilots with this capability will fly preprogrammed instrument approaches to the point where the pilot either takes control and lands or has the autopilot execute a missed approach.

The autopilot is a powerful computer that takes input from either the pilot or a navigation device and essentially does what it is told to do. GPS navigators, for example, can have a full flight plan entered from departure to destination, and the autopilot will follow the navigator’s guidance.

These are the majority of the controls on the autopilot installed in my airplane:

HDG Knob = Heading knob (Used to set the desired heading)

AP = Autopilot (Pressing this turns the autopilot on)

FD = Flight Director (A form of navigational display that the pilot uses)

HDG = Heading (Tells the autopilot to fly the heading set by the Heading Knob)

NAV = Tells the autopilot to follow the input from the selected navigator

APR = Tells the autopilot to fly the chosen approach

ALT = Tells the autopilot to manage the altitude, controlled by the following:

VS = Vertical Speed (Tells the autopilot to climb or descend at the chosen rate)

Nose UP / Nose DN = Sets the climb/descent rate in feet per minute

FLC = Flight Level Change (An easy manual way to set the autopilot)

ALT Knob = Used to enter the desired altitude

This post originally appeared on Quora. Click here to view.

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Big Questions
What's the Difference Between Vanilla and French Vanilla Ice Cream?
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While you’re browsing the ice cream aisle, you may find yourself wondering, “What’s so French about French vanilla?” The name may sound a little fancier than just plain ol’ “vanilla,” but it has nothing to do with the origin of the vanilla itself. (Vanilla is a tropical plant that grows near the equator.)

The difference comes down to eggs, as The Kitchn explains. You may have already noticed that French vanilla ice cream tends to have a slightly yellow coloring, while plain vanilla ice cream is more white. That’s because the base of French vanilla ice cream has egg yolks added to it.

The eggs give French vanilla ice cream both a smoother consistency and that subtle yellow color. The taste is a little richer and a little more complex than a regular vanilla, which is made with just milk and cream and is sometimes called “Philadelphia-style vanilla” ice cream.

In an interview with NPR’s All Things Considered in 2010—when Baskin-Robbins decided to eliminate French Vanilla from its ice cream lineup—ice cream industry consultant Bruce Tharp noted that French vanilla ice cream may date back to at least colonial times, when Thomas Jefferson and George Washington both used ice cream recipes that included egg yolks.

Jefferson likely acquired his taste for ice cream during the time he spent in France, and served it to his White House guests several times. His family’s ice cream recipe—which calls for six egg yolks per quart of cream—seems to have originated with his French butler.

But everyone already knew to trust the French with their dairy products, right?

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