Bad cinema is not noise. It is a small, structured region of movie-space: the space of pitches somebody thought would sell, filtered through a producer’s greed and a decade’s anxieties. Zardoz, Starcrash, Turkish Star Wars — you can always reconstruct what they were trying to be. That legibility is the whole game.
The genome comes first, because the title is derived — from the gimmick, the hero, the causal order of production — never authored. AIP tested titles before commissioning pictures; Cannon sold posters at Cannes before scripts existed. The badness differs by birth order, and the birth order is in the genome.