Legendary Hollywood Director

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The emotion contained in the bland and trivial is enough to make people move.

Baby, symbolizes hope, hope for the future.

After the feature film, although there was no other extra audience present, Lehman, the only spectator, took the initiative to applaud: Director Reitman, you did a great job.

Haha, I like this script theme very much... Jason Reitman said with a smile.

After the film is finished in the later stage, of course, the schedule must be arranged to be pushed into the theater.

Although Juno has many bright spots and humorous jokes, it is still biased towards the plot as a whole. Except for the emotional ups and downs, there is no cool orgasm design, and there are no big scenes or big casts. The audience is definitely biased towards women and adults. People, mainly between 25 and 35 years old.

The secondary audience is the teenagers who feel it, and it is the adolescent group of about 14 to 16 years old.

This is a good analysis.

Because some movies are aimed at specific audiences, such as Harry Potter and the Philosopher's Stone, Warners clearly knows to actively approach the youth market, and even the publicity is to serve this aspect.

Let's go back to Juno. Compared with ordinary commercial popcorn, its characters are too thin. If you compare it with articles and novels, qualified commercial popcorns are all cool, and the protagonist must be awesome, not to mention saving the universe. It is a fairly common routine to create a civilian hero, and there is also some love and beauty in it, and Juno is more like reading a relatively relaxed prose, laughing and thinking.

Jason Reitman is undoubtedly a master of prose. This kind of film always uses sharp themes and then reduces the sharpness to tell an interesting story, but this kind of theme must not think about pleasing too many audiences, because it There are certain viewing thresholds.

Of course, having a movie viewing threshold does not mean failure, it just means that there are some market restrictions, and the breadth is not as large as that of the Shuangwen market.

Lehmann left the editing room and returned to his office.

I wanted to discuss with Liam about the screening arrangement of Juno, but assistant Mace brought another document.

After a few glances, Lehman was a little happy, and immediately ordered: Mess, you go and ask Manager Perlman to come and see me. I want to ask him about copyright operation.

Mays heard the word copyright\

,"Although he didn't understand, he quickly ran to the cubicle and truthfully picked up the phone to notify.

Since 2004, Firefly has been involved in the offline market and copyright peripherals.

But at that time there was no stable distribution channel in North America, and even overseas, I didn’t dare to think about it, and they all used other studios to eat the rest.

In this way, it is conceivable that the entire offline income will be divided up layer by layer, and the remaining income earned by Firefly may be less than a quarter of the entire project.

But Firefly is just getting started, it is normal to suffer a little loss. Just like every junior who newly entered the circle has to pay tuition fees and learn the doorways and rules, but they have not found suitable personnel in all aspects, and they really lack independent competitiveness.

Later, the acquisition of Lismanwish Films and the recently established North American distribution network successfully laid the foundation and had a little offline capital, but due to the film source, publicity, and theater resources, life was better , but it doesn't matter how awesome it is.

The channel needs to sink and it takes time to develop. Even finding out the Internet to promote publicity has only alleviated a part of it, and it is still impossible to eat all the share that belongs to the producer.

Compromise, compromise, compromise.

The so-called stagnant development and continuous accumulation will eventually lead to quantitative changes and qualitative changes.

Finally, the arrival of Mai Leidandre made up for the lack of high-level acquaintances. When planning and copyright operation for the offline market again, in addition to the potential of the project itself, other aspects were much better. Inclinations such as emphasis and promotion priorities are left out.

At the beginning of this year, when 300 was about to enter the next stage, home entertainment companies such as Blockbuster came up with a cooperation plan in advance to evaluate and promote the DVD sales of 300.

If you only look at the priority and sharing agreement, Firefly is no different from the second-tier studios in the past, and it has risen to the quasi-first-tier.

Even transportation and labor costs are included in the share, while Blockbuster only takes 20% of DVD sales and 30% of rental costs, which is lower than before.

What does this mean?

Firefly has been valued, and has risen from a general supplier to a must-win supplier.

Objectively speaking, measuring the strength of a studio is not all about competing financial resources.

MGM changed hands several times when it was at its worst, and even the management could not achieve stability, but people still enjoyed the best treatment.

Why, as long as the huge copyright library is still there, companies such as Blockbuster can't ignore it.

What's more, everyone is familiar with each other, and sometimes human feelings are also a plus. Do you all know each other?

And that's what makes Lehmann happy.

It is obviously an excellent signal that Blockbuster can re-evaluate the resource level of fireflies.

Under the general trend, in other words, Firefly can still maintain the project output and profit share like in 2006, which can make all parties happy to earn Franklin, who should not respect it. Even if it's just a small step.

Of course, there is still a certain way to go in order to be as beautiful as the Big Five.

To completely reverse the situation, only after the company that is underestimated by others is acquired, Firefly truly embarks on the business model of big IP pan-entertainment, and benefits from top to bottom, forcing other partners to give up Firefly.

In any case, after all, it is developing in a good direction.

Wait until Perlman arrives.

Lyman first asked a few words about recent work.

In fact, there is not much to report in this regard, and the specific data has been recorded.

For example, the Chainsaw series, as always, makes more money offline than theaters, but the potential is slowly declining. It is estimated that the audience is tired of aesthetics, or that they have filmed so many movies and can't play any more, so they can only eat their old books. ;

For example, Olive's image authorization in Little Miss Sunshine is not bad, and some related costumes and dolls are sold;

For another example, Deadly Magic has a low value in the copyright market. Except for DVD and TV pay-on-demand, which are profitable, there is no market in other aspects.

Of course, Lyman was just looking for a topic to talk about.

If he really wants to know in detail, he can get a more intuitive feeling by directly looking at the quarterly aggregated market data.

So his second sentence was, Get ready, overseas companies have to take action. In this regard, you may need to be more responsible.

Lehman has been thinking about overseas channels for a long time.

In fact, every studio with the slightest ambition has come up with this idea.

After all, a big cake is always in the hands of others. How to eat it and how to eat it depends on the face of others. It is divided into outsiders.

Of course, Lehmann is well aware of the difficulties involved.

Film sources and stable interests.

DreamWorks tried but failed, because its production business was not stable, and there were more loss-making projects than profit-making projects. Can there be no problem? Lionsgate tried it, and it was a short-lived success. At its peak, it said It is not impossible to kick Paramount, and it is not impossible to step on Paramount.

A Twilight series, a Hunger Games series, holding two big gold mines, all the way to the overseas market - overseas distribution is difficult, easy to say.

Just follow the five major patterns.

Opening their global distribution projects, except for China and Canada, other regions contact local distributors to distribute on their behalf, and then negotiate with theaters for sharing agreements. Looking at the densely packed list of issuers, it becomes clear.

After all, who has so much money to support a global distribution team? Even if each region is considered on a smaller scale, at least three or four thousand resident distributors are needed in each region. Believe it or not, just one producer The factory was dragged to death.

Isn't it a big burden for the studio to have such a large percentage of distribution staff?

Therefore, smart people are mainly based on cooperation and bundling of interests.

To give another example, Miramax can do simple overseas distribution.

People rely on the network of connections from major film festivals, direct copyright transactions, and mainly sell out, but this model is too troublesome, and it follows the award-winning film festival route. I don't want to do this.

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