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"I used to think you had to have a great script to make a movie. Later on, I thought that you have to have great actors. Now, I know what you have to have to make a movie: money." [Paraphrase - attributed to Stanley Kubrick]

Perhaps in no other medium is the conflict between Art and Business more apparent than in film. To be able to make a movie, considerable costs must be incurred: to have an outstanding film, the film must be artistically viable. Is a successful film one that satisfies Art or Commerce? The definition of a "successful movie" is one of the prime reasons why endings can vary in film and why the film is often re-edited with a new conclusion. In theory, at least, here is "Why sometimes it's not 'The End' "

First of all, most films are narrative, or story based but narration takes two different basic forms. These are the event based or "mythic" form and the character based or "sequel" form. Narrative film has used both from its beginnings. The first is often the "hit" movie while the second is, usually, an attempt to capitalize on the first.

The event based format appeals to the viewer in that he or she wants to see what is coming next. The events themselves are the most important things. We are introduced to the characters but they are, by and large, caught up in circumstances that must lead to an inevitable conclusion. This type of story is most commonly encountered in dealing with myths and legends. Hercules goes through his trials but the will of the gods is indomitable and his eventual tragic end is assured.

In the "mythic" or event sequence based film, the success of the work depends upon an internal consistency. A successful film of this type, has its own logical movement that allows the audience to suspend their disbelief and accept what is happening on the screen. In real life, for example, Luke Skywalker would have to be trained for years to undertake a combat mission but, in "Star Wars [Pt.IV]" he manages to become an expert combat pilot by having done a little hunting on his home world. Nevertheless, the events move forward at a brisk clip and we cheer for his success as older audiences cheered for the arrival of the cavalry in "Stagecoach".

The second, character driven story really depends upon the first to exist at all. After we see the hero or heroine go through the original sequence of events, it is natural for us to speculate on what might happen to them next. If the character dies in the original tale, and if they are popular enough,

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