Hollywood legendary director

Jonson remembered the recent internal discussions in Warner, and he was very moved.

In the absence of sufficient theater resources, Firefly is too united.

Just as there is no way to intervene in the acquisition, Firefly is all talking, as long as Lehman doesn’t nod his head and digs up the management, it’s not a painful one... Besides, Warner doesn’t have a better deal. The conditions to dig.

They have a bit of real power within them, and there have been people long ago. If they are dug up, is it just like this?

Isn't it realistic?

Hey, go back and continue the discussion.Who made him just an executive in the production department, and not completely in control of his own department, how can he talk about the development of projects like "Batman"?

......

Just when Johnson ran errands for himself and was depressed because he had no right to decide, Joseph knocked on the office door and reported some work to Lehman.

It's mainly about "Deadly Magic".

Lyman raised his head and listened slowly.

In fact, they are some of the additional screening plans that Liam communicated with the theater, which needs his approval.

"...This weekend, the number of screens in "Fatal Magic" will increase to 3,100. In terms of copying, Blue Butterfly Pictures is already preparing..."

After Lehman heard this, he laughed and said, "Isn't this kind of thing expected? The theaters are much easier to deal with than the Big Six. For the benefit, it is easier for them to make the most correct choice."

"Boss." Joseph also said relaxedly: "This wave of theater resources should be able to stabilize the subsequent screening format, but they will still give priority to the six majors. After all, there are not many choices for the September schedule. "

"Hehe, of course I know, but," Lehman couldn't help but smile. "Don't forget the old things about the new line?"

The new line took more than ten years to lay the foundation, but relying on continuous low-cost profit and good production output, it quickly became the new favorite of the theater market.

If it weren't for it later and couldn't give the theater profits, it is estimated that it could fight each other with the six majors in the period.

As long as the film can have market prospects, the theater chain is better to talk.

......

Let us turn our attention to the day when the results of the first weekend of "Fatal Magic" are released.

Directly won the box office champion next week, and the attendance rate is not bad, or in the September schedule, this kind of performance does not want to attract the attention of the theater.

Of course, the cinema chains led by Emperor Entertainment and AMC could not just watch the film revenue slip away, and soon agreed to prepare to expand the scale of the film.

In other words, if you add more screens, you can make more money-in terms of market data, there is room for more profit.

Los Angeles, Emperor Entertainment Division.

Oster sat in the boss chair, sorted out his thoughts, and quickly picked up the phone and called Liam, the president of Blue Butterfly Pictures.

When the phone connected, I listened to the other side saying, "What's the matter, buddy."

"You are always so direct. Of course, after discussing the cooperation of "Fatal Magic", we decided to expand the scale of the film from this Wednesday this week. Therefore, there are some details about the contract that need to be determined. In addition, the copy must be prepared in advance. Now." Oster also went straight back and forth.

"Oh, you continue to say, we will cooperate."

"In terms of screen canvas, it will be expanded to 3,100 and last for at least three weeks. In addition, the share of the film will be increased by one more for each chain theater..." Oster briefly listed a few figures. They are very used to adjustments.

For some films with more potential, more resources are needed.

From the perspective of theaters, this is a choice made based on market feedback. It is an effective arrangement to win more box offices, not for friendship.

For the studio, this is indeed a very gratifying thing.

Everyone knows that the amount of resources invested intuitively represents the amount of box office in the market.

Of course, this is a win-win situation. The box office is high. Everyone will get a profit. Who doesn't want to make more profits.

Then, Oster habitually concluded: "For any profitable movie, Emperor Entertainment always embraces a warm welcome. If there is no problem, our people will come and help deliver the copy the day after tomorrow."

"Well, no one will refuse to make money." Liam replied.

Although the relationship between Firefly and the theater is not particularly eager, but it is not the kind of dispensable small shrimp. A studio produces ten projects each year, and it has been out of the ranks of small studios. .

With such a growing cash cow, who has the heart to deliberately neglect?

In addition, the theater chain is not monolithic, and many independent theater operators add up to be a big force.

Moreover, Blue Butterfly Pictures has already possessed certain North American distribution capabilities, and exchanges and cooperation with theaters are not a problem. The only rare thing is the priority and details of cooperation.

As we all know, the six major first-line projects can get a more favorable contract share ratio in theaters than other studios. On the contrary, it is a small and medium cost, and everyone is at the same level.

But in this regard, Blue Butterfly Pictures is not very jealous, they think the real difference should be the thickness of resources.

For example, schedule selection, resource priority, such as the location of the theater, the schedule of the show time, and the amount of promotional content within the theater.

These details are what many independent studios really value and strive for.

Movies produced in the same way are screened at the best time in the best cinemas of the Big Six, and the ticket sales staff actively recommend them. On the contrary, other studios don’t have this convenience, and they can’t even squeeze in for summer vacation or Christmas. The treatment makes people particularly headache.

Moreover, if the film's box office performance begins to weaken and the rate of reduction is faster than others, this difference is also common.

Of course, the theaters are not stupid. None of them are soft-hearted. The six major projects have rushed to make room.

Therefore, what Blue Butterfly Pictures needs to do is to gradually deepen the cooperation between the two parties, use benefits and production levels to continuously raise similar priorities, and strive for better resource orientation.

This is definitely a long-term process, but you can get corresponding discounts at every step.

After talking about "Deadly Magic", Oster changed the topic, or in other words, they are somewhat competitive with the current output of Firefly.

"Do you have any other screening plans in the future?"

"It will be discussed in detail at that time, and now it is a bit early."

However, this answer also indirectly shows that Firefly still holds items.

Oster believes that with their current reputation and gradually accumulated advantages, the project output will definitely increase.

This is an inevitable process, unless Firefly is willing to be a small studio, then of course there is no need to pay attention to the output.

Because for the cinema chain, it is stable, and the studio that can provide enough projects in a year should be special. Otherwise, why should people bear too much pressure and risk?

"Well, the contract details, I will fax it later, and you will send it back after signing."

Having said everything clearly, Oster stopped entanglement, and hung up the phone neatly.

At this time, Emperor Entertainment still paid attention to the idea of ​​fireflies.

After all, the relationship between their company and the Big Six is ​​not very deep.

Moreover, it is foreseeable that, relying on the momentum of several directors, some aspects of Firefly have great potential for profit. Just like the original DreamWorks, there will always be projects that can make big money.

The reason why more resource tilt and priority recognition have not been added is because this model has certain drawbacks.

Firefly, like DreamWorks, is not very resistant to pressure. Once there is a problem with the production of the project, the funding chain will be broken.

At that time, it is estimated that it will be difficult to continue to survive.

The so-called ``Prosperity and prosperity, all loss and loss.''

Disney's profit model that does not rely on the box office and depends on offline and peripheral markets is not so easy to learn, and the multi-channel and multi-mode sinking profit of Warner, Universal, and Paramount cannot catch up in a day or two .

Compared to them, the fireflies have a long way to go.

For now, it can only be said that there are certain advantages in production, but not enough to have too much influence.

However, such results are also very exciting.

People, always have a long-term perspective.

Can it be self-contained and go further?

If there is that kind of luck, is it not without chance?

Immediately, the additional screening contracts of the Emperor Entertainment, AMC and other theaters were quickly passed...