We can’t pitch a new enzyme inhibitor project by saying “This is like captopril, but without the sulfur”, because those lessons just don’t carry over. We learn some general lessons, but the number of exceptions and idiosyncracies always threaten to swamp them.Fundamentally, the problem is that we don’t have control over the story in the way that movie-makers do.
A movie has to be cast, shot, edited, and distributed, but the risk profile through that process is much different than it is in drug research.
I’ve used this one myself; it leads off a talk that I put together a few years ago.
The model for a movie studio is that not all your films are going to be hits, or even make money.
(Neither is the government going to examine your movie in detail before release, asking you to substantiate its billing as “The Feel-Good Hit of the Summer! This current response, then, is to take that objection and run with it.
Instead of imagining the movie industry as if it had the regulatory environment of pharma, what if pharma had the regulatory oversight of Hollywood?