Depressive Screenwriter

In September, as the screening time of "Hana-Koi" lengthened, market discussions about Su Yan began to cool down.

The film and television market is like this; no matter how talented a creator is, their popularity is always highest when their work is first released.

Su Yan focused on filming two film and television dramas, and the theatrical run of "Hana-Koi" gradually came to an end.

In fact, the initial media prediction that Su Yan would take the top two spots at the summer box office did not come to fruition.

This book is first published on the entire network by 𝕥𝕨𝕜𝕒𝕟.𝕔𝕠𝕞

Although "Hana-Koi" ultimately grossed over 1.2 billion, it still fell short of "Windmill" by 30 million in total box office.

In the end, it only secured third place in the summer box office.

But even Su Yan's most jealous haters couldn't criticize this achievement.

Is third place bad?

Is 1.2 billion box office bad?

This is an achievement that many filmmakers can't reach in their entire lives.

Su Yan achieved this with two consecutive films in two months.

Currently, Su Yan's reputation in the Xia Kingdom film industry is booming. Basically, any reputable film company in Xia Kingdom would never underestimate Su Yan again.

When the media and film critics mention Su Yan, they mostly praise him and no longer bring up his identity as a television screenwriter.

Before the summer season, all doubts about Su Yan in the Xia Kingdom film industry had dissipated.

And Su Yan's Dimensional Film and Television Company, because it did not have any new investment projects, had a large amount of funds sitting idle in its account after being repatriated.

The overseas royalties from previous works and the paid viewing revenue from various websites all added up, bringing the funds in Su Yan's company account to over one billion.

In addition, there were the box office revenues from "Hana-Koi" and "5 Centimeters Per Second" that had not yet been settled.

It was estimated that the two films would bring nearly one billion in box office revenue to Su Yan's company.

Even though the production and distribution costs of the two films exceeded 400 million, the return on investment of over 100% was still astonishing.

Within Su Yan's company, both he and Ayami Shinozaki were walking on air during this period.

Although many wealthy people like to say, "Money is just a number to me!"

And both Su Yan and Ayami Shinozaki didn't have high demands for material life.

But the thought that their company account would soon have over 2 billion in funds still made them a little excited.

Money is definitely not as simple as a number!

Having been conservative in their investment funds in the past few years, they both deeply understood how important money is in the film and television industry!

It was just that with so much money, if it were used to make movies, Su Yan could spend it wildly for five or six years without any output.

After all, 100 million Xia currency could make an S-level drama, how could Su Yan finish making them all?

But if Su Yan were to invest the money...

He knew very well that the Xia Kingdom market was too deep.

Things like buying and selling stocks were all insider information, and he didn't have the energy or time to engage in these risky and low-return activities.

At most, he could ask people to inquire whether major shareholders of various online video websites wanted to sell their shares, and he could spend money to buy some.

The situation in Xia Kingdom was different from Su Yan's previous life.

In Su Yan's previous life, the television basically went from being the public's first choice for entertainment to a household decoration that wasn't turned on for half a year within ten years.

The reason was the rise of the Internet and video websites.

But in Xia Kingdom, the four major video websites were basically controlled by television stations. The only one not controlled, Raccoon Net, also had capital from some film and private film production companies as shareholders.

The process of the Internet replacing television stations may be relatively slow in Xia Kingdom.

But the general trend is like this: slow, but unstoppable.

Su Yan would buy their shares and strive to be a shareholder in the future.

This way, when his company's future works are broadcast on these websites, he wouldn't be easily manipulated by the platform.

But those things could only be done slowly.

And now.

Looking at the over 400 million emotion points staying in his system space, Su Yan stopped hesitating.

He should draw when he should.

Now he had money and emotion points, and the production cycle of his works was also long. He was basically looking at next year's affairs this year.

Although it was only late September, he was already starting to prepare for the films and television dramas that the company would produce next year.

Judging from the fact that "5 Centimeters Per Second" performed better than "Hana-Koi" in terms of box office and word-of-mouth.

It was clear that Xia Kingdom's movie fans liked Makoto Shinkai's works.

Since that's the case...

Su Yan looked at the information about these works in the system space.

Among the remaining films of Makoto Shinkai, there were only three worth Su Yan's special exchange.

"Your Name", "Garden of Words", "Suzume".

Su Yan knew without exchanging that the stream-of-consciousness films like "The Place Promised in Our Early Days" were too artistic and would definitely not do well at the box office.

As for "Children Who Chase Lost Voices", it was simply one of Makoto Shinkai's few lower-quality films. Su Yan's evaluation after watching it in his previous life was very low.

As for "Voices of a Distant Star", it was too short and not worth considering.

Among Makoto Shinkai's disaster trilogy, the one with the highest exchange value was undoubtedly "Your Name".

As Makoto Shinkai's famous work, it not only had the highest box office among all of Makoto Shinkai's works, but also had the highest popularity, reputation, and rating.

It's just that the exchange price was quite exaggerated...

350 million emotion points.

But Su Yan today was not the same as he was a few years ago when he would worry about emotion points. Without hesitation, he directly spent the money to exchange it.

Exchange it first, and then start production.

He would have to spend a year and a half producing it anyway.

As for the two works, "Weathering with You" and "Suzume", he would exchange them when he accumulated more emotion points later.

After "Fate/Zero" starts broadcasting in January, there would be new emotion points coming in.

Similarly, the "Rurouni Kenshin" movie, which was originally scheduled to be released during the Spring Festival next year.

Su Yan could actually use the remaining emotion points to exchange the remaining movies of "Rurouni Kenshin", but Su Yan didn't plan to completely dive into the film industry from now on.

The television drama industry was his base camp, and the film industry was where he planned to expand his company's territory.

So he also had to consider the new works in the television drama sector next year.

So after thinking about it, Su Yan directly used the less than 70 million emotion points left in the system space to draw a lottery.

Soon.

A work that had been sealed in Su Yan's memory for a long time appeared.

"Kimi ni Todoke: From Me to You!"

?

Su Yan was completely stunned.

This work?

As the ceiling of ceilings in Su Yan's previous life's Japanese anime romance works, Su Yan had a deep impression of this work.

After all, in the era when "One Piece", "Naruto", and "Bleach" were the most popular serialized works, it was the only romance manga in the top ten in single-volume sales, and its sales in the top ten could suppress "Naruto" and "Bleach", second only to "One Piece".

Su Yan would definitely not forget such a work.

Before, the system lottery basically drew a bunch of depressing works for him.

This time, this work...

Actually produced pure love?

And it was a truly pure love anime work.

But after thinking about it carefully, he could understand.

Works with high emotion point value are mostly works with great popularity in Su Yan's previous life.

And among popular works, there are relatively few tragedies and depressing styles.

Especially since these works had to be limited to the works Su Yan had seen, there were even fewer.

Like those long works such as "Bleach", "Naruto", and "One Piece", with IP values of tens or hundreds of billions of dollars, Su Yan simply couldn't draw.

Not to mention the depressing masterpiece "Evangelion".

And "Kimi ni Todoke", which had great popularity but low commercial value due to its love theme, was drawn, then it could be understood.

If it could cause trouble, the system would probably continue to do so.

Heh.

That's fine too.

After thinking about it carefully, Su Yan showed a smile on his face.

Didn't his fans always think that he, Su Yan, could only do depressing things?

It would be interesting to occasionally come up with a pure love work like "Kimi ni Todoke".

After all, when everyone assumed that Su Yan would be depressing, he suddenly came up with such a work, breaking the fans' and the market's inherent impressions and prejudices about him.

In the future, no one would dare to make wild predictions about his works before they were broadcast to the end.

Until the end, whether it's depressing or healing is like Schrödinger's cat, they can't figure it out.

Film and television creation must maintain suspense.

Su Yan's own persona cannot be completely fixed.

Soon, Su Yan exited the system space.