Movie titles are fascinating – and sometimes the most artistically fulfilling or narrative-appropriate title for your film isn’t the right choice.  It’s important to find the sweet spot between what makes sense for your movie and what will make people actually want to see it.

When trying to elaborate on this principle, I often go back to the title “Minority Report.” Literarily, it’s a solid title:  this elaborate sci-fi mystery hinges on the fact that every now and then a pre-crime prophecy is known to be reported inaccurately from a minority of prediction sources. So, yeah, the title makes technical sense, sounds like a sci-fi short story, and the moment in-film when the viewer comes to realize the title’s importance is effective because of the “ah-ha!” factor.

But outside the context of this being a Philip K. Dick story being retold by Stephen Spielberg starring Tom Cruise, it’s actually a crap title! I mean, what the hell is a “Minority Report” and why should I care!? If I do decide to see the film, I’m going to expect some sort of exposé on prejudice, or underage student essay. This is a movie about a police force that can see the future… Sure, titles like “Prophet Cops” or “Future Crime” don’t have quite the same ring of profundity to them, but you can bet they’d get more butts in seats than “Minority Report” if the film didn’t have well-respected names already attached. Note how Cruise’s name is as prominent as the title on the poster to the right.

So if you’re an independent filmmaker trying to establish a presence, hooking an audience with your title alone can be an important step in the right marketing direction.