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Relatively expensive film, especially for a first-timer. that doesn't mean it should be viewed as a failure. the film was nominated for several awards, the director has made a further feature, with american marquee names; and it did no harm to the international reputation of its british cast. nevertheless film four's production budgets were, in general, considerably higher than they had been just a couple of years earlier. and the return on this investment was not. for example lucky break, a prison comedy that was designed to emulate the success of the full monty, proved to be an unlucky gamble. it made little more than a quarter of its substantial budget in the uk, and received scant approval from the critics. there is a suspicion that formulaic thinking may have been partly to blame. director peter cattaneo had had a runaway hit with the full monty, but there was no reason to assume that a similar film would repeat the trick. we have to be careful here: you can massage the facts according to your predilection. the writers on each film were not the same; this might have helped account for the second film's perceived failure. but if they had been the same the critics would have leaped on that fact too. whatever the case, it's hard not to feel that lucky break was too much a product of market positioning rather than originality. the director nicholas ray, in another age, said "there is no formula for success. but there is a formula for failure - and that is to try to please everybody." nevertheless, there's a thin line between the cynical attempt to formularise and the loyal pursuit of particular talents. the light touch that characterised the full monty, and peter cattaneo's earlier work for the bbc, suggested that he should expand that work. it would be pretty difficult, if you were in film four's position at that time, to reject the idea of a new, custom-made cattaneo project. the auguries were good: a talented and experienced screenwriter in ronan bennett, a strong cast and a budget that, while it was grown-up, was laughable in hollywood terms. what's more, film four were not the only game in town. if they had turned down lucky break, arguing that it was not ground-breaking material, it could easily have been snapped up by bbc films, which by now had its own central london base - and a couple of international hits in mrs. brown and billy elliot. so you can see that the landscape was rather different from that of the early 1980s. channel four had begun sparkily, if shakily; the right-wing press in particular had an enjoyable time satirising its emphasis on minority subjects. film four had been an unapologetically arty fellow traveller, uninterested in competing with the big guns of goldcrest and handmade films. and now, at the turn of the millennium, it was only one of several substantial film companies. the bbc was not alone; working title was a potential partner, or threat; and coming up on the inside was a new pack of 'super-companies' financed by the national lottery. while this resurgence of government investment in film was exciting, it also made for a febrile atmosphere. in essence, it was sink or swim. and film four hoped to swim with a substantial property; the adaptation of sebastian faulks' novel charlotte gray. clip 14: charlotte gray what makes a film a success or failure? we've already answered that question as far as prediction is concerned, but other terms apply after the film is released. charlotte gray had all its ducks in a row. a well-received novel, developed by the respected company ecosse films, with the screenwriter of their mrs. brown. in gillian armstrong it had the director of my brilliant career and little women. in the leading rle was cate blanchett, a gift to any film, and the rest of the cast was not shabby either. as you see from the clip, it was a detailed and handsome production. take all this together, and film four could hardly be accused of formulaic thinking. in fact they could be applauded for sinking their largest budget ever fourteen million pounds - into such a solid investment. charlotte gray made back a small fraction of that fourteen million, and this - coming on top of the lucky break dbacle - was viewed by many as the clincher that destroyed the company. if the press response had been glowing it might have helped, but the film was cold-shouldered there too. in autumn 2002, with around fifty redundancies and amid considerable shock across the industry, film four was shut down. so the received wisdom, put bluntly, is that charlotte gray was a bad film; so was lucky break; and the collapse of film four was due to a combination of arrogance and overinvestment. speaking to the guardian newspaper last year, channel four's erstwhile chief and casino portal. | Adjusted coefficient of multiple determination shown in table 3 is equal to 0.357, indicating that 35.7 percent of the change in the dependent variable, grade, is explained by the set of independent variables which are student characteristics, except for the faculty member status variable ; . the fstatistic's high value of 35.248 corroborates the existence of a significant relationship between student grades and the set of independent variables. independent variables that would be significant at a 0.58 level of confidence include the following: 1. 2. 3. faculty member status part-time or full-time ; t-stat value 0.55 grade point average gpa ; t-stat value 12.37 day or evening t-stat value 1.34. 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