Who Decides Which Films Get Made Today?

For most of the twentieth century, the answer to this question was relatively straightforward. Film studios acted as the central gatekeepers of storytelling. They controlled financing, development, production, and distribution, determining which scripts moved forward and which never reached audiences. Writers pitched to studio executives, filmmakers depended on studio backing, and theatrical distribution provided the primary path to commercial success. The industry operated within a clearly defined hierarchy, with decision-making concentrated in a small number of powerful institutions.

Today, that structure has shifted dramatically. While studios remain influential, the rise of streaming platforms has transformed the dynamics of decision-making within the film industry. Companies such as Netflix, Amazon, and Disney now function as major commissioning authorities, controlling vast budgets and global distribution networks. These platforms have become central to determining which stories are produced, how they are financed, and how they reach audiences.

One of the most significant changes lies in the economics of financing. Historically, film studios evaluated projects based on projected box office returns, focusing heavily on theatrical performance. Streaming platforms operate under a different economic logic. Their primary objective is subscriber retention and growth rather than ticket sales. This shift alters the criteria used to assess projects. A film’s potential to attract or retain subscribers, generate online engagement, or strengthen a platform’s content library may now matter more than its standalone commercial performance.

This new economic model has expanded opportunities for certain types of storytelling while constraining others. Streaming platforms require a constant flow of content to maintain subscriber engagement across global markets. This demand has created openings for independent filmmakers and writers who might previously have struggled to secure traditional studio backing. Projects that appeal to niche audiences, international viewers, or specific demographic segments can now find pathways to production through platform commissioning strategies.

However, the rise of streaming has not eliminated gatekeeping; it has redistributed it. Platform executives, content acquisition teams, and algorithm-driven audience analytics now play central roles in shaping which projects move forward. Decision-making often involves data-driven assessments of viewer behaviour, genre preferences, and consumption patterns. In this environment, creative decisions are increasingly influenced by predictive analytics rather than solely by artistic judgment or market intuition.

This shift also affects the career dynamics of independent filmmakers and scriptwriters. Traditional studio systems often provided structured development processes, including long-term contracts, mentorship, and gradual career progression. In contrast, the streaming era is characterised by project-based commissioning and shorter contractual cycles. Writers and filmmakers frequently operate within fragmented employment structures, moving between independent projects, platform commissions, and freelance work. While access to opportunities may have increased, long-term career stability has become less predictable.

Ownership of intellectual property has emerged as another critical factor. In many streaming deals, platforms seek global distribution rights in exchange for financing. For independent creators, this arrangement provides access to production resources and global audiences but may limit long-term control over their work. Retaining ownership of stories has therefore become a strategic priority for many filmmakers and writers seeking to maintain creative and financial independence.

Globalisation further complicates the decision-making landscape. Streaming platforms operate across multiple countries, requiring content that resonates with diverse audiences. This global reach has expanded opportunities for stories originating outside traditional film centres, enabling independent filmmakers to reach international viewers more easily than before. At the same time, platforms often prioritise content formats and themes that align with global consumption patterns, shaping the types of narratives most likely to receive support.

Technological changes have also lowered barriers to entry in production. Advances in digital filmmaking tools allow independent creators to produce high-quality content with relatively modest budgets. However, reduced production costs do not eliminate the challenge of visibility. The primary bottleneck in the modern film ecosystem is no longer the ability to create content, but the ability to secure attention within highly competitive distribution environments.

Ultimately, the transformation of film industry gatekeeping reflects broader changes in business systems. Power has shifted from vertically integrated studio structures to platform-based ecosystems that combine financing, distribution, and audience analytics. The mechanisms of decision-making have evolved, but the fundamental principle remains: storytelling industries continue to rely on intermediaries that determine which narratives reach audiences.

Understanding this shift provides insight into the evolving economics of creative industries. It highlights how technological innovation, platform dominance, and changing revenue models reshape not only how films are distributed, but also how they are conceived and developed. The question of who decides which films get made remains central to the industry — but the answer now lies within a far more complex and globally interconnected system.