These 5 Directors Remain Hollywood’s Most Bankable, Data Shows

From Marvel to DC and Middle Earth to the Wizarding World, Hollywood has spent much of this past quarter-century serving up franchise universes as the signature theatrical offering. This stood in stark contrast to the 1970s, when singular filmmakers pushed cinema to industry-altering new critical and commercial heights. Though star power today, both in front of and behind the camera, has lost the luster of yesteryear, there still exists a small handful of filmmakers who boast drawing power all their own. 

These storytellers have proven the rare ability to open original and/or atypical films to box office success and launch or sustain new franchises. They also consistently generate early audience excitement based on their name power while attracting highly valuable audiences to theaters. 

Intellectual property can augment the final outcome, but it is these directors who secure green lights from studios and buy-in from audiences early. As a result, they very much earn the blank checks Hollywood is eager to offer them.

Christopher Nolan

If you predicted that Oppenheimer would outgross Inception, Interstellar and Dunkirk, you either boast Jean Grey-level fortune-telling ability or a remarkable penchant for lying. 

Eleven months before the Oscar-winner’s release, “Interest” among audiences aware of the upcoming film stood at a whopping 67 percent, according to Greenlight Analytics, where I work as Director of Insights & Content Strategy. “Theatrical Intent,” or those who said they planned to see the film in theaters, was at 46 percent. 

Every film exists on a sliding scale. But if “Interest” and “Theatrical Intent” sit above 50 percent and “Interest Among Aware” is north of 65 percent upon release, you’re likely in decent shape. Oppenheimer nearly cleared those bars as soon as the first trailer dropped. We’re seeing this play out yet again for The Odyssey, which also sported an Interest Among Aware score of 67 percent a year before its release. 

Nolan has proven to be a consistent draw for original and new-to-screen concepts, particularly for audiences 35 and over. This highlights his ability to bring casual and/or infrequent moviegoers to theaters, which fuel breakout performances. 

Ryan Coogler

Coogler is doing incredible work both within and beyond the confines of franchise filmmaking. Wakanda Forever’s “Theatrical Intent” score grew from 50 to 60 percent from its first trailer through release. (Unsurprisingly, successful films tend to grow their scores throughout the marketing campaign leading into release). But it was Sinners that proved the young storyteller is a standalone brand. 

Seven months before release, the original vampire tale scored 65 percent in “Interest Among Aware.” Even more impressive is how the culturally rich and resonant film scored elite results with Black audiences upon release across “Awareness” (66 percent), “Interest” (66 percent), “Theatrical Intent” (59 percent) and “Willingness to Pay” (68 percent)—theatrical ticket, VOD transaction or streaming subscription. 

Coogler isn’t just delivering highly successful films at the box office. He is activating highly valuable demographics early and often. Like Nolan, viewers have come to associate him with big-screen quality. 

James Cameron

Twelve months before release, Avatar: The Way of Water scored huge in “Interest” (60 percent), “Interest Among Aware” (77 percent) and “Theatrical Intent” (48 percent). Though not quite as explosive, Fire and Ash cleared high benchmarks across all three metrics at similar pre-release points. Both films ranked in the top three in audience preference for premium large-format screens among 40-plus films in their respective release years. New or old, he creates and sustains franchises that consistently defy expectations—which he’s done across decades! 

James Cameron is synonymous with theatrical scope and scale. His films demand to be experienced in the best and biggest formats possible. Audiences are happy to oblige even if it costs them a few extra dollars. 

Greta Gerwig

Barbie was the very definition of atypical IP. Gerwig managed to craft a compelling narrative around a toy with no discernible story to tell. She also directly appealed to female moviegoers, something Hollywood struggles to do consistently. 

The same appears to be playing out for her upcoming Narnia adaptation for Netflix, which will exclusively play on 1,000 IMAX screens for a minimum of two weeks. Eleven months before release, the film was tracking well with general audiences in “Interest” (47 percent), “Theatrical Intent Among Aware” (56 percent), and “Theatrical Intent Among Interested” (65 percent). Unsurprisingly, it’s one of Netflix’s most highly anticipated 2026 films. 

Narnia’s scores with women under 35 are even better than its results with all moviegoers. Gerwig’s ability to activate young female moviegoers who consistently convert into ticketbuyers is virtually unrivaled right now. That translates to high floors and high ceilings at the box office. 

Jordan Peele

When NOPE first hit tracking seven months before release, it did so with a 75 percent score in Interest Among Aware. That would be a home run for any film in its week of release, let alone seven months in advance. Audiences that knew about the title early on were immediately keen on it. Cultivating that sort of buy-in despite the horror genre often deliberately keeping its marketing mysteriously opaque is a testament to the brand Peele has developed. 

Passionate early engagement, particularly compared to relatively modest early awareness, has become his calling card. I can’t think of a more apt summation of Peele’s power as a filmmaker. 

Who else is in the mix, and why does it matter?

These aren’t the only directors who sell tickets by themselves, though it remains increasingly rare. Quentin Tarantino qualifies, though he hasn’t delivered a new film since 2019. Steven Spielberg’s return to summer tentpoles this year with the alien film Disclosure Day will be revealing. Is the Spielberg brand still a top-tier selling point in the modern movie marketplace? It depends on whether the long-lead tracking falls in line with other filmmaker-driven patterns or more traditional trajectories.

As of right now, early indicators suggest the former. “Interest Among Aware” (79 percent), “Interest Among Unaware Audiences”—people who find the concept appealing even if they don’t know about the film—(67 percent) and “Theatrical Intent Among Aware” (68 percent) are strong. 

IP remains vitally important to a film’s commercial prospects. But in select cases, directors can be the appetizing scent that ignites the audience’s voracious appetite. Just as fans follow their favorite franchises installment to installment, these filmmakers elicit the same project-by-project attention. 

That can be worth billions of dollars in a challenging industry where every studio is desperate to de-risk big budgets and identify potential earlier in the moviemaking life cycle. It’s why Nolan is the rare filmmaker to receive a percentage of all box-office revenue, not just when the film becomes profitable. It’s why Warner Bros. agreed to transfer ownership of Sinners back to Coogler after 25 years. It’s why Cameron can do pretty much whatever he wants, Gerwig was able to negotiate for Netflix’s most emphatic theatrical experiment yet, and why Peele enjoys creative freedom. 

Every director wants to be their own franchise, and every studio wants them working on their lots.