By the early 1980s, mer-
chandising was added to the mix, so tie-ins with fast-food chains, automo-
bile companies, and lines of toys and apparel could keep selling the movie.
Scripts that lent themselves to mass marketing had a better chance of being
acquired, and screenwriters were encouraged to incorporate special effects.
Unlike studio-era productions, the megapicture could lead a robust afterlife
on a soundtrack album, on cable channels, and on videocassette. By the
mid-1980s, once overseas income and ancillaries were reckoned in, few ﬁlms