Legendary Hollywood Director

The global side should be settled.

After confirming the theater version, in the conference room, Kevin first mentioned it.

Since Marvel started to make a fortune, he has had a lot of contact with the top executives of major studios, but he has no selfishness about the distribution of the entire project.

The reason why he proposed Universal, according to him, is entirely because of the copyright issue of the Hulk.

Don't forget, Marvel only has the right to use the image, and Universal is the copyright owner of the Hulk. If we don't divide it up or pull the battleship back to a unified position, what does Universal think when Reunion is released?

In addition, if it works well, using the distribution share of Reunion and the subsequent assembly projects as a bargaining chip, you can actually pull Universal to talk again and share the copyright of the Hulk - before Universal refused to return the Hulk because they There is no shortage of money, but it is obviously impossible to have such a rich distribution share of over 200 million major productions.

What else? Only fighting for a plan that is not suitable for us to raise resources and maximize revenue. For us, it is the most important to deepen the character economy through the spread of the film. We can make a lot of money by relying on this.

David Messo, general manager of Marvel Entertainment's brand operations department, followed.

He very much agrees with the boss's practice of selling a portion of the box office profits in exchange for publicity channels, so he also thinks that it is a profit transfer anyway, and it is also given to one company. If it is promoted to two companies, the width of the media that can be used can be wider and more expandable. Influence and IP public opinion.

Warner?

On the other side, after comparing all over the place in his heart, Liam said: We both also enjoy the production share of the Batman trilogy, and they have already produced many versions of the script for the third part. Besides, Iron Man's publicity work, they cooperated well with us.

But the success of Batman is actually that we are taking risks. After taking risks and enjoying the fruits of victory, they don't want us to intervene in the adaptation of other DC characters. Kevin looked at Lehman, The boss has said this before. But Warner's attitude is really unpredictable.

They have a board of directors after all.

Then should we suffer such a loss?

Okay. Liam spread his hands, How about Sony? Their absolute leadership in the audio-visual product field can help us generate more revenue in peripheral operations such as DVDs and original soundtracks.

After the global explosion of The Dark Knight, Warner did perfunctory a lot to Firefly.

If the first film only has a box office of close to 400 million, and after deducting the cost of theater, production and publicity, Firefly can't get much money at all, so Warner is happy to settle the account, then wait until The Dark Knight does not talk about it. The 1 billion+ box office of the reason, facing the bone-scraping profit, Warner really has a lot of small moves.

It's just that the fireflies aren't staring so hard, and it's not like they don't know at all.

Of course, from Warner's point of view, it's normal to feel unhappy. If it wasn't for the bondage of a contract, they would all want to kick the fireflies, so that they can enjoy the results alone - even if they can't do it, the third In the preparation of the Ministry, the rights and interests of Firefly as the first investor are also being violated.

What’s interesting is that Firefly can afford it, but they don’t want to. Recently, their attitude has softened a lot. It may be that last year’s and this year’s performance and financial reports are both ugly and they have regressed a lot. They can’t ignore the pressure from the shareholders of the board of directors.

In these discussions, Paramount and Disney are not talked about by everyone, everyone is just telling how Sony, Warner and Fox can help the project.

After all, his boss has great hostility to Disney and a lot of resentment against Paramount, and it is not ignorant of the senior executives here.

That is naturally excluded from considering the atmosphere.

They also don't know that the reason for Disney is because of Mann Media's superiority, most of which are stepping on Disney's future. Of course, Lehman is happy to see that Disney is only maintaining the strength in the animation field; as for Paramount, he knows everything Bad debt, can't figure it out.

......

Well, I think the discussion is pretty clear.

Before, Lehman had been holding the performance reports of Iron Man, Team America and other projects. At this moment, he made a sound, and the few suddenly became quiet.

We have decided on Sony-Colombia and Universal, and we will reach an agreement with these two companies as soon as possible. However, the distribution model this time is different from the previous one. Before we did not have any overseas channels for site distribution, so now, after Despicable Me , Gone Lover and other projects, we can count the entire global market, including North America and Canada. Among them, the proportion of pure channel revenue does not need to be discussed, and the overall share is calculated as 100%, the two of them 3.5% of each, our channel is the weakest, accounting for 30%, and we still pay publicity funds in exchange for their media resources, whether it is a radio advertising space or a TV station advertising space, we will quote according to the market price, and the specific account The three parties supervise each other.”

Strictly speaking, Marvel suffered a little bit of a loss in this plan. It launched projects that did not take production risks at all, and also took the initiative to undertake publicity budgets. For entertainment companies that have these media, the left hand is the right hand. This is an entry.

Of course, if it really can be exchanged for the channel promotion capabilities of the two companies, Lehmann will definitely accept it.

As David Messo said, Marvel's projects relying on box office to make money is undoubtedly a trail. Based on the popularity and influence of the movie itself, deepening the IP output value, profit derivatives, secondary copyright operations and peripheral operations is the only way. They hold the most lucrative part of the copyright.

To put it simply, focus on the big and let go of the small, and give a part of the share based on the box office to the cooperative allies, and then give it.

Later, while notifying Fire Insurance to store the theater copy, Lehmann asked Marvel Entertainment and Blue Butterfly Pictures to contact the entire project promotion.

Those sponsors, brand owners, and distributors must discuss one by one how to complement each other and get what they want from the audience and fans.

In the remaining two or three months, the relevant publicity plan is basically the one thing that the relevant department personnel of the company need to spend the most energy on. In addition, it is the end of Despicable Me.

Of course, the final box office of the latter is 543 million. After removing the profit of the theater, copying, transportation, labor, etc., the income of Lighting Entertainment is about 246.3 million. Even if the three years of preparation and production expenses are removed, Lighting Entertainment The emerging animation label can also bring relatively considerable income to the parent company Mann Media only by relying on the box office, which undoubtedly makes their entire production team very excited and happy.

What is exciting is that they have successfully tested the water in the three-strong Hollywood animation market, which has proved their value; what is joyful is that the big bosses Lehman and McLeod are the masters, and they will give out about 20 million in advance as a performance reward. .

If nothing else, according to the degree of contribution, even the original artist responsible for the draft is equivalent to receiving several months of salary in disguise.

After all, compared to the live-action film field, the animation field has far fewer production staff, and they don’t need so many behind-the-scenes workers. Moreover, some work in animation works that does not involve the core of the film can be outsourced. For other animation studios, such as Lighting Entertainment, after the success of Despicable Me, the recruitment was expanded once, and there were more than 60 team members...

Please remember this book's first domain name: . Apex Novel Mobile Version Reading URL: