Chapter 493 Earn a Building

"Anyway, President Reagan's gimmicks are really good, why should we bring them? Isn't it good to shoot directly?"

"a?"

Donna Round was speechless in surprise, but then laughed out loud, "So are we going to file a lawsuit against the Reagan family?"

"That's right, from the start of filming to the end of the release, this is very good publicity, and we are sure to win the lawsuit. I have never heard of filming a story about a dead person and buying the copyright from his family. At most, they can only Suing us for violating the reputation of President Reagan is not a big deal, and compared to the benefits in exchange for a gimmick, a little compensation for reputation loss is nothing more than a drizzle!" Yang Cheng's loss move is not beyond Tangna Langde's mind, but it's just that it didn't go in that direction at all Come to think of it, after all, everyone gets what they need is the purpose pursued by Hollywood.

But when it was time to make money, Donna Lande would never be soft-hearted, and immediately agreed, "Okay boss, I will handle this matter properly, and I may need the cooperation of New Era Media. If you want to win the lawsuit, Public opinion must prevail, and it will more or less affect the decision of the judge and jury!"

Yang Cheng waved his hand, this is nothing serious, "Go ahead and get in touch, I will greet the media company and fully cooperate with your request."

Donna Lande was beaming. Working in New Era Films was much more comfortable than at Universal. After all, here she only had to be responsible to Yang Cheng, while at Universal she not only had to face frequent scolding from the board of directors, but also often received criticism from those ambitious directors. Junior employees, challenges from time to time, the entire career of Universal can be summed up in two words-tired!

But in the new era film industry is different, the company is brand new, or she integrated it single-handedly. The company is well-funded and never loses the chain at critical moments. So far, Donna Lande can't find any faults. If nothing else, it will not be a problem to work in New Era Films until retirement, which can be regarded as a painting for her career. Under the perfect full stop.

"By the way, boss, "Fifty Shades of Grey" continued to lead the North American box office with a drop of less than 50% in the second full week after its first weekend of release. At present, the total box office in North America has reached 143 million US dollars, and there are more than 60 overseas markets. It has been released in all countries and regions, the overseas box office has exceeded 300 million US dollars, and the global box office has reached 443 million US dollars, and it is expected to exceed 500 million US dollars next week, success is imminent!" Donna Land suddenly remembered that the business had not been reported, and hurriedly pulled out the freshly released box office The report was passed to Yang Cheng.

Hearing this, Yang Cheng was overjoyed. This means that New Era Films can reap profits just by relying on the box office. Generally speaking, the proportion of accounts between Hollywood producers and theaters is not fixed like in country Z, but It depends on the specific agreement reached by the film company and the theater.

Of course, it also depends on how strong the film company itself is. For example, the giant Disney has opened its mouth countless times, directly biting off two-thirds, and asking the theater to hand over 65% of the box office revenue.

In fact, in the more distant era, North American film companies were quite strong. 90% of the box office of a film in its premiere week fell into their pockets, and the income of theaters mainly came from the sales of popcorn and drinks. .

But in subsequent weeks, theater revenue share will increase. Generally speaking, during the fourth week of a film’s release, the producer’s revenue will gradually drop to about 50%, and the theater’s revenue share will rise to 48%. The weekly distribution ratio is different, which is a ladder distribution rule in North America.

However, with the bankruptcy of a large number of theaters in the early 21st century, the overlord clause of the film company was subsequently abandoned.

Nowadays, for a Hollywood blockbuster, no matter how many weeks the movie is shown, there are relative standards to follow for the ratio of theaters’ share. Screening week will be able to win the top spot and maximize profits, so they greatly increase the number of films scheduled, so that more audiences can enter the theater.

For a typical large-scale production, the number of films scheduled for its premiere week will generally reach 4,000. In the 1980s, the number of films scheduled was only a few hundred. Of course, this is also related to the progress of economic technology. After all, it used to be a film copy , Now it is a digital screening, and the distribution cost is not the same.

Moreover, unlike the film producers in country Z who share relatively less accounts, generally speaking, in Hollywood, if a movie has a high box office, the proportion of profits shared by the film company is often higher than that of the theater.

For example, for a film with a box office of 300 million US dollars, the film company can share up to 60% of the income, but for some films with poor box office results, the theaters must also protect their own income. For a $10 million film, the film company can only take 45% of the income at most.

Although the Hollywood film companies are very strong now, they can't squeeze the theaters too much, otherwise it won't be so fun if they are boycotted by the theaters.

In general, for an American film's domestic box office, the film company's share is about 40-55%.

Today, Hollywood studios are more dependent on overseas box office to make profits or recover losses as they rely more and more on a large number of publicity and distribution. Is it a box office success for the studio?

It really depends on the situation. But generally speaking, the home market of Hollywood movies is relatively important, because film companies tend to make a larger proportion of their revenue at the local box office. For a Hollywood film, the production company only gets about 40% of the overseas box office share, and because the exchange rate of the US dollar keeps changing, collecting overseas box office shares has become a seemingly simple but difficult task. matter.

At the same time, the tariffs imposed by the government will also cut the film company's share. Therefore, the real income of the film company still depends on the full-scale explosion of local and overseas box offices.

However, in recent years, Hollywood companies have increased their attention to overseas markets, which is the general trend, especially in overseas markets led by the country Z market. When the box office of a movie fails at home, it can often achieve a big explosion in the country Z market. Such amazing consumption power , Hollywood companies must pay great attention to it.

Take James Cameron’s comeback 3D masterpiece “Avatar” in 2010 as an example. At that time, “Avatar” created an astonishing box office myth of 2.7 billion US dollars. It has reached 27% of the total box office, which is enough to show the importance of overseas box office.

In addition, some movie stars rely on exporting blockbusters to gain popularity around the world. Compared with those movie stars who are only famous in the United States, film companies need such people to help them further expand overseas markets.

For example, since the release of "Fifty Shades" two weeks ago, the excellent performance at the North American box office has basically completed the task of paying back the cost, and the share of the full-scale outbreak of the overseas market will all be turned into the figures on the financial report, transforming for profit.

Judging from the current box office performance, New Era Pictures will get at least a net profit of no less than 100 million US dollars from the film "Fifty Shades of Grey", plus the peripherals~~

For a major production, profits from DVD rentals, streaming rights and derivative sales can reach $60 million to $100 million, and studios get far more from digital media such as DVDs. More than from theater box office revenue, this is because digital video and derivative retailers do not have as much voice as theaters. On the one hand, theaters have high operating costs, and on the other hand, the final decision on what movies to show The power is still in the hands of the theater itself.

In addition, sales through DVD and derivative channels do not require high promotion costs, which is also conducive to increasing revenue for film companies.

In recent years, the DVD market has gradually shrunk under the impact of streaming media, but it is still profitable to distribute through DVD. Some movies with specific themes, such as horror films, independent documentaries, and art films, are quite eye-catching when they are sold on DVD. The DVD version of Grayscale belongs to it. After all, some scenes on the DVD will be more complete and more enjoyable than watching them in the movie, and the length of the movie has reached 3 hours! It's basically a small H movie!

Of course, if a film happens to have a strong IP and a decent fan base, sales expectations are even more optimistic, with 2012's The Hunger Games pulling in 3.8 million copies in its first week on Blu-ray quantity. So, if the film itself is compelling enough, the studio can still make a fortune on DVD.

After simply looking through it for a few times, he put it down after he knew what he knew, "How is the surrounding situation?"

Donna Lande seems to have been waiting for Yang Cheng to ask this question a long time ago. Announcing the good news is what every subordinate is most willing to do. "Thanks to our sufficient stock, the overall peripheral sales reached a peak last week, excluding Blu-ray DVD and The sales of other TV and Internet platform copyrights, including the sales of small umbrellas and various sex~qu toys, made us a net profit of more than 10 million U.S. dollars. To be honest, I regret sharing several of them with the manufacturers.”

Greedy enough, Yang Cheng is quite content. Unexpectedly, the profit generated from the surrounding area will almost catch up with the net profit of the box office. This route, with this series, we can earn the money of a headquarters building."

Donna Round was just complaining happily, and of course she wouldn't really stay up all night because of it. She echoed with a smile, "That's right, no matter what, our route is right, as long as we continue to walk unswervingly."

"You are a professional in the final box office share. I won't say much. I will just say one word. Hurry up and don't give the theaters a chance to default."

Donna Langde's face turned serious, "Of course, the theater is still looking forward to the next two films to continue to cooperate and make a lot of money. How dare you not pay us the share that is owed to us?"

"That's good. In fact, I've been thinking about whether it is possible to hold a North American theater chain in a disguised form?" Yang Cheng asked thoughtfully.

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