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Text [Part 2] Chapter 80 Discussion

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    So what do you think about box office purchases and rebates in the Mainland?  The staff of Lan Entertainment had a discussion with Du Xinghe and others. Although their main business is the singing circle, Lan Entertainment's plan for Du Xinghe is to be an all-round artist, and he must not be limited to the identity of a singer. They hope that Du Xinghe will  Can become an all-around idol.  ¡º¡Ü?So in the film field, they also chatted more with Du Xinghe about the current film situation. Brother Kang and Jay Chou also participated in this private discussion.  Everyone has benefited a lot.  ??Is buying box office and rebates a promotional method or unfair competition?  This is the focus of heated debate. ? Box office purchases and rebates allow film producers, distributors, e-commerce companies, and theaters to profit to varying degrees.  If you fail to perform these operations, the interests of your film will be directly affected. The film schedule may be low or the box office may be stolen.  As a result, two completely different views emerged. The party with damaged interests certainly believed that it had encountered unfair competition, but the party with vested interests defended itself by saying that "the state did not explicitly prohibit it."  The establishment of a comprehensive film market regulation seems to be the ultimate solution.  The party that makes money by buying box office and rebates has two logics to defend its behavior: first, I have the ability to do it; second, what I do is normal marketing.  "I have the money, strength and resources to do this, why don't I do it? I can't just not do it just because others don't have the ability to do it."  In the eyes of some distributors, expenses such as rebates, box office purchases, or bribes to theater managers are nothing more than ¡°public relations expenses.¡±  Just like movie investment, some invest more and some invest less.  It is understandable that the film studio uses its own distribution resources to replace better publicity methods.  ¡°Everyone talks about buying box office and rebates, but I think it¡¯s sour grapes.¡± ¡°I think rebates are a kind of incentive policy. You have to give sales commissions when selling products, not to mention that this is a kind of sales. A  One is the general distributor, and the other is a distributor. Distributors have a lot of stuff, so it¡¯s normal for you to provide a reward mechanism,¡± said a publisher.  Someone else made this analogy: "For example, McDonald's gives away free hamburgers. It's the same thing. Right? Then you can't scold him. You are so shameless. You won't make any money. As long as the effect is achieved, it's okay in business.  "Some people in the industry used the situation in the United States as an analogy: "You see, the accounting ratio in the United States is not one-size-fits-all. They also divide the accounts in a stepped manner. The longer the movie is shown, the more points are given to the theater. The same is true for us to lower the accounting ratio.  The same principle holds true.¡± Many people in the industry think so.  It is indeed despicable to buy box office on such a large scale as a certain movie, but normal-scale theater booking and e-commerce activities are acceptable.  In the view of a certain cinema manager, booking a theater has always been a promotional tool. Except for some sponsors who have big money, it is generally within the normal range. "I think the difference between booking a theater and a large-scale purchase of a certain movie is that the theater is reserved."  After the additional tickets are given out, there will indeed be audiences to watch, because we will also select customers in a targeted manner, and it is all money, and Chinese audiences will feel that they are not watching it, even if it is a fake show.  Behavior.  Industry insiders also believe that although it is unethical, it is not illegal: "Fake theaters are just because we are willing to reach a consensus. The theater chain does not want the money, but just takes some benefits. We have no tricks. If we want to steal the box office, we must have  A so-called victim, but there is no such thing as a fake one.¡± But in an environment where rebates and box office purchases are prevalent, the frustrated film studios obviously don¡¯t think so. What they call is a fairer market access mechanism.  "Intrusion" directed by Wang Shuai has only 1% of the film schedule in this year's May Day.  Devastated, he went to the theater to learn about the market situation, only to find that a movie in the same period had sold out at the box office.  "They just conduct transactions directly, instead of using normal film quality and publicity to influence the market. For our film, they concluded, 'You didn't publicize it well.' In fact, the publicity fee this time was 8 million. It's pretty good.  Yes, I had no promotion fees at all before. During the time of "Me 11", it was just the two of us in the office who made a living. But they used this as an example, because you didn't have direct dealings with him and he released it to the whole country.  People all over the country believed that there was no film schedule due to publicity issues, so they avoided all the tricks here. "Director Wang Shuai believes that the use of box office and rebates for movies released at the same time deprived him of the opportunity to compete fairly.  , his film was sentenced to death in advance before it entered the market and was tested by the audience.  He pointed out that now a huge system of theaters and distribution companies with resources has formed, and people outside this system will not have the opportunity: ¡°China does not have a market access mechanism, so we can only try to catch up with others.  This one has distribution and theater chains. Each theater chain has its own children. If the theater chains unite and take care of each other's children, they will form a big organization.  Have any interests with them?If you hook a unit, you have no way to enter their system, so you can only watch, and then there is no hope for any basic production.  " Foreign models can be used for reference, but the ultimate goal is the establishment of laws and regulations. " The country has not explicitly stipulated that we cannot do this!  "This is the ultimate defense for the party that benefits. "Why doesn't the state restrict them from doing this?  "This is the question and cry of the frustrated party. The problem ultimately points to the state's supervision of the current film market. Whether to intervene in the distribution process, and what kind of laws and regulations should be established is the most worthy of discussion and solution.  Now the key to this problem is. Before that, let¡¯s take a look at the practices of developed film markets. According to insiders, the behavior of buying box office does not exist in developed film and television markets.  The official revealed to us that buying box office will definitely not happen in France because it is too expensive. He can¡¯t understand why this phenomenon exists in the Chinese market. Industry insiders said, ¡°The French film market is mature and the audience is quite popular.  Mature movie-watching habits will not follow the trend like Chinese audiences.  Situations like buying box office should be a unique phenomenon in the initial stage of the Chinese film market. Just like some problems existing in other fields of film, they must be solved with the overall progress of Chinese films.  " How to solve it specifically? The models of the United States and France may provide reference. First of all, the profit model of Chinese movies is relatively single, mainly relying on box office. This is also the reason why film studios blindly pursue high box office. "The seven-layer window distribution model in the United States is  It can ensure that the film studio has a relatively long-term income, not just relying on the box office." Industry insiders said, "In the United States, there are theaters, cable TV "pay-per-view" channels, cable pay movie channels, home video, cable TV, wireless  The seven windows of television ensure that movies can generate income three years after their release.  " Director Wang Shuai represents the literary and artistic film studios that are relatively weak in today's Chinese market. What they call for is a relatively fair competitive environment and market access mechanism, such as limiting the maximum number of films for a super blockbuster and regulations.  The minimum number of films to be scheduled and the release time of a movie. Officials from France C said that France has similar regulations. C stipulates that a movie cannot exceed 25% of the film schedule, and the minimum cannot be less than one cinema.  This regulation prevents blockbusters from dominating the market and ensures the survival space of small films. In France, there will be no "one-day trip" phenomenon, because C stipulates that a movie must be released in theaters for at least two weeks.  There is a certain degree of unfairness in putting small fish like literary and artistic films in the same pool. Both commercial and artistic film producers have called for separate screenings.  It is said that the conditions for establishing art theater chains in the mainland are not yet mature, and Baodao¡¯s model can actually be used as a reference: ¡°The largest cinema in Taibei is called Village Roadshow Cinemas. It has 16 halls, but two of its halls are dedicated to showing literary films.  .  For example, "Flying Against the Light" was screened here last year. This film actually ran in Baodao for three months and grossed more than 20 million yuan at the box office.  It is released over the long term.  Play twice a day, but insist on playing every day.  "In the Mainland, there are art theaters like Moma, but they are difficult to expand because of the lack of government support. If rebates are a promotional method similar to the American ladder-like splitting of accounts, if box office purchases are also subsidized by private theaters and e-commerce  If these two operating methods can indeed benefit some film studios and make China's box office hit new highs, does it mean that there is no problem in establishing art cinemas? It may be an important way to save literary films and establish art.  Cinemas may be an important way to save literary and artistic films. From the long-term perspective of film diversification and healthy market development, the crisis has emerged. First of all, blockbuster films using rebates and box-office buying methods have squeezed small and medium-sized films.  The living space of movies. China's literary and artistic film market itself has not yet started. In today's market environment, literary and artistic films that are small in size and do not have enough capital to carry out rebates and box office operations can only become victims of film scheduling.  . Secondly, under the baton of money, theater schedules may determine what movies will be made in China in the future. When a movie achieves great success at the box office through rebates and box office purchases, it will lead to more investors to make similar movies.  Using the same distribution model experience to replicate this box office success has led to the production of more and more homogeneous, assembly-line movies. The final result is that domestically produced bad films cannot cultivate audiences, and the market environment is unwilling to support domestically produced good films.  The audience can only be kidnapped by Hollywood blockbusters. This then creates a vicious cycle of Hollywood blockbusters squeezing out domestic blockbusters, domestic blockbusters squeezing out domestic mid-sized films, and mid-sized films squeezing out small-sized films. When China fully opened up the import of American films.  MovieHow to resist the onslaught of Hollywood?  When director Wang Shuai was promoting his "Intrusion", he once went to a theater in a second-tier city to hold an audience meeting.  "I didn't dare to look up after entering the theater. There was no film rehearsal, so it was too embarrassing." At the end of the meeting, the theater manager came to shake hands with Director Wang Shuai and thank him. Director Wang Shuai finally couldn't hold it back. He looked directly at the person who avoided him.  The manager said: "You are the manager in this movie theater, and you have the right to schedule movies. If one day, when you walk out of this movie theater, you go to the hospital to see a doctor, or you go to the government department to do things, will you?  I also hope that this society is fair and everyone has equal rights? "As a new director, Kangkang will not be much better off than Director Wang Shuai if he doesn't know how to do it.  After listening to Lan Yu's story, Kangkang benefited a lot because he has been immersed in this circle for a long time. He saw that Du Xinghe was quite interested in the film industry, especially since Du Xinghe wanted to know more about the people on their treasure island.  Regarding movies, Kangkang told Du Xinghe about the current status of Baodao movies based on what he saw and heard when he entered the industry last year, taking the 2014 Baodao movie as an example.  Overall, Taiwanese films in 2014 were mediocre. There were not many exciting and truly excellent films. Even the surging trend of documentaries in 2013 was no longer there.  The "Golden Horse Awards" has crossed half a century and is heading towards its 51st edition. Taiwanese films have once again hit an unprecedented low in the award-winning record.  If we exclude the Best Supporting Actor and Actress awards won by "Jiu Zhong Le Yuan" (two mainland actors, Chen Jianbin and Wan Qian respectively), the only "Second" award is reserved for Taiwanese actor: Chen Xiangqi  won the award for Best Actress (for "Return of Light Sonata") and the original screenplay award for Yi Zhiyan's "Operation Code Sun Yat-sen".  In terms of results at international film festivals, only "Ice" is probably the most successful Baodao film. It was selected for the Berlin International Film Festival in early 2014 and later won the Best Film Award at the Edinburgh International Film Festival.  He has been invited to participate in countless international film festivals this year, and has even become a representative of the Academy Awards for Best Foreign Language Film.  "Army" is the second Taiwanese film to become the opening film of the Busan International Film Festival after Hou Hsiao-hsien's "The Finest Hours". It was also selected for the 2015 Berlin International Film Festival.  Watch the film.  In terms of box office, among the top ten Chinese-language films in the Taiwan market in 2014, "Kano", "Waiting for Coffee" and "Dadaocheng" ranked in the top three, but among them only "Waiting for Coffee"  "Kano" is making money, even though "Kano" has accumulated a box office of NT$340 million in Taiwan, it is still losing money; the other Taiwanese films in the top ten, such as "The Iron Lion and the Jade" are almost tied, and "The Military Garden."  " suffered a heavy loss. As for the co-production "Hero 2", it relied on the mainland box office to make a profit. It only made about NT$50 million in Taiwan, which is not particularly outstanding.  (To be continued, please search Piaotian Literature. The novels will be better and updated faster!
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