Hollywood has backed itself into a corner using the exact same methodology that you outline in your new studio: both assume that films are widgets, and great ones can be reliably produced with high frequency if the secret formula is discovered. No such formula exists. Every film is a one off, and many of the biggest hits were perceived as certain flops before their release (Star Wars), just as many sure things have tanked (Cowboys & Aliens).
As I've said before, the solution isn't to become more cautious, but more bold. You studio should be based around locating new, young talent (writers, directors, actors and producers), giving them steady work in exchange for reasonable salaries (kids right out of film school are thrilled w/ $30K a year) and creating an environment where said talent can work on a high volume of projects over a short time period with limited commercial risk. No one should ever feel that failure on any particular project will result in a ruined career - the omnipresence of that fear is what has given rise to timid film-making in the mainstream. Projects should be shot in under two weeks, and should have budgets ranging from $10 - 100K. You should be designing your studio to accommodate modest returns, while accounting for inevitable flops. Never presume you know what will sell, and you might make it.
Film-making isn't a business. Film-making is an art. The best art is achieved via iteration: practice, release, refine, practice, release, refine. Build a studio designed to lose money for two years. In the first year, plan to attract at least 50 young directors, 100 young actors, and 100 young writers. There's no shortage of talent in LA (300 hungry young artists step off the bus in LA every day) but sifting the wheat from the chaff will be exhausting. Do the work, it will be worth it. Build a production schedule geared around low budget genre films, produced in 12 days and costing an average of $35,000 a piece. Ideally you'd be releasing 50 - 75 films a year. Over the first two years of your studio's existence, you'll have released 100 - 150 films. With each film, you'll be able to try new and different release and marketing strategies. You'll be able to gather detailed audience feedback on each film, and at the end of that two years, with a mountain of data behind you, you'll start to have a very strong idea of what sells and what doesn't. What kinds of films your audience is interested in, what kinds of actors, plots and situations they enjoy, and how you can produce films with those elements in the cheapest, quickest way possible. In the third year of your studio's existence, you might start to break even. In the fourth year, every major studio will be begging to work with the radical young talent that your studio has done such an amazing job at cultivating.
In other words: Step One, collect underpants.