5. Budget model
. Budget model
Interactive tool (this site): use the budget model for live break-even, distributor split, scenario tables, and CSV import/export — same logic as the Movie Marathon Budget Model spreadsheet.
Illustrative, for a 200-seat auditorium, 12 hours, five films. Confirm every line locally — chain and market variance is enormous.
| Line item | Low | Likely | High | Note |
|---|---|---|---|---|
| Venue four-wall (12 hrs, incl. staffing) | $1,200 | $2,800 | $6,000 | Independents lowest; chains and premium formats highest. Weekday mornings are dramatically cheaper. |
| Projectionist / tech (if separate) | $0 | $400 | $900 | Some venues bundle. Film Independent, as a reference point, bundles a projectionist into hourly rates (rate sheet). |
| Film licenses, 5 titles (MG basis) | $750 | $1,500 | $3,000 | Season/multi-title deals reduce per-title MG. |
| DCP drive handling + round-trip shipping | $100 | $250 | $600 | Combined multi-title drives cut this sharply. |
| Event insurance (1-day liability) | $150 | $300 | $600 | Often a venue requirement. |
| Ticketing platform fees | $0 | $250 | $500 | Or run through the venue's box office. |
| Marketing: print, digital, poster art | $200 | $700 | $2,000 | Commissioned poster art doubles as a crowdfunding reward. |
| Guest/host travel (optional) | $0 | $500 | $2,500 | A film historian or genre author moderating between features. |
| Contingency (15%) | $360 | $1,000 | $2,400 | Non-negotiable. |
| Total | ~$2,760 | ~$7,700 | ~$18,500 |
Revenue side. At 200 seats and a $35 all-day pass: a 60% house is 120 tickets = $4,200; a sellout is $7,000. That alone does not cover the likely case. Which is exactly why crowdfunding, sponsorship, and a tiered pass structure exist.
Recommended ticket structure: All-day pass $35–45; single-block pass $15–18 (fills empty afternoon seats and captures people who won't commit to 12 hours); VIP $75–100 with reserved seat, poster, and a pre-show reception.
Break-even math to run before you commit: fixed costs ÷ (average ticket price × expected attendance rate). If you need more than 65% of the house to break even, either cut a film, move to a weekday, find a smaller auditorium, or raise more upfront.