Hollywood legendary director

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

The baby symbolizes hope and hope for the future.

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

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

After the movie is finished, of course, it is necessary to arrange the schedule to be pushed into the theater.

Although "Juneo" has many highlights 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 from 25 to 35 years old.

The secondary audience is the adolescents who are concerned about it, and they are the adolescents between the ages of 14 and 16.

This is easy to analyze.

Because some movies are aimed at specific audiences, such as "Harry Potter and the Sorcerer's Stone", Warner clearly knows to actively move closer to the youth market, and even the publicity is to serve this aspect.

Let’s go back to "Juneo". Compared with ordinary commercial popcorn, its role is too thin. If you compare it with articles and novels, qualified commercial popcorn is all cool. The protagonist must break, not to save the universe. It is a very common routine to create a civilian hero. Among them, there are some love and beauty. Juno is more like looking at a lighter prose, smiling and giving people thinking.

Jason Reitman is undoubtedly the "prose" everyone. The movies made by this product always use sharp themes and then reduce the sharpness to tell an interesting story, but this kind of theme must not think of anything to please too many audiences, because it There is a certain threshold for viewing movies.

Of course, there is a threshold for viewing movies, which does not mean failure. It just means that there are some market restrictions and the breadth is not as large as the Shuangwen market.

Lehman left the editing room and returned to his office.

I wanted to discuss with Liam about the screening schedule of "Juneo", but Assistant Metz brought another document.

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

When Metz heard the word copyright, although he didn't understand it, he ran to the cubicle quickly and truthfully picked up the phone to inform.

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

But at that time, there was no stable North American distribution channel, and it was even harder to think about it overseas. They used other studios to eat the rest.

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

But is Firefly just getting started? It's normal to suffer a bit.Just like every newcomer who has to pay tuition fees and school rules, they have not found the right manpower for each item, and they really lack independent competitiveness.

Later, the acquisition of Lismannwish Films and the establishment of a short-term North American distribution network successfully laid the groundwork, worthy of a little offline capital, but it was a bit easier to be trapped by film sources, publicity, and theater resources. , But I can’t talk about how awesome it is.

The channel needs to sink and it takes time to develop. Even the exploration of the Internet to promote propaganda has only eased part of it. It is still impossible to get all the share of the producer.

Compromise, compromise, compromise again.

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

Finally, the arrival of Mai Lei Dan De Rui made up for the shortcomings of the high-level lack of acquaintances. When planning and copyright operations for the offline market were again undertaken, apart from the potential of the project itself, other aspects were much better. The emphasis and promotion priority are left out in the cold.

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

Just look at the priority and the sharing treaty, Firefly has never been different from the past and second-line studios, and has risen to the first line.

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

What does this show?

Firefly has been taken seriously, and has risen from a general supplier to a supplier that must be won.

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

MGM changed hands several times during the worst, and even the management could not be stable, but people still enjoyed the best treatment.

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

What's more, they are all familiar with each other, and human relations are sometimes a bonus. Do you all know each other?

This is why Lehmann is happy.

Blockbuster's ability to reassess the resource level of Firefly is obviously an excellent signal.

Under the general trend, in other words, Firefly can maintain the project output and profit share as in 2006, so that all parties can happily earn Franklin. No one should respect it.Even if it's just a small step.

Of course, there is still a way to go if you want to be like the Big Five.

To say that the situation can be completely reversed, only when the underestimated company is acquired, Firefly will truly embark on the big IP pan-entertainment business model. From the top to the bottom, the benefits run through, forcing other partners to not and will not give up Firefly.

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

After Perlman arrives.

Lehman first asked about recent work.

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

For example, the "Chain Saw" series, as always, is more profitable offline than cinemas, but the potential is slowly declining. It is estimated that the audience is aesthetically tired, or after shooting so many movies, I can't play it anymore.

For example, Oliver's image authorization in "Little 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 DVDs and TV pay-on-demand, which are profitable, there is no market in other areas.

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

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

So his second sentence is, "Be prepared, overseas companies have to take action, and you may be responsible for this."

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

In fact, as long as it is a bit ambitious studios have made this idea.

After all, a big cake is always pinched in the hands of others. How to eat and how to eat depends on the face of the other person, and it is divided into outsiders, as if the income from the project produced by oneself should not be taken by oneself.

Of course, Lehman is also very aware of the difficulties.

Film source and stable interests.

DreamWorks tried it but failed. The reason is that its production business is not stable. There are more loss-making projects than profitable projects. Can there be no problems? Lionsgate tried it, and it succeeded briefly. At its peak, said It's kicking Paramount, it's 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 and difficult, and easy and easy.

Just follow the five major models.

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

After all, whoever has so much money to raise a global distribution team, even if each region is a small scale, at least three or four thousand distributors based in each region are needed. Believe it or not, these salary expenditures will be a producer. The factory was dragged to death.

Isn't it a big burden for the studio to account for so many distributors?

Therefore, smart people are based on cooperation and benefit binding.

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

They rely on the network of connections from the major film festivals, direct copyright transactions, mainly selling off, but this model is too cumbersome, and it is the route of the award-winning film festival. Most people can’t play, but can’t play. I don't want to do that.