Chatty Hollywood

After entering the 21st century, movie box office revenue will account for more and more declines in overall movie revenue.

　　 Peripheral income will gradually become the main source of income in the later stage of the film.

　　 is famous for its animated films, and Disney, which focuses on the youth market, is the biggest beneficiary of this change.

　　Similarly, there is Hasbro, which owns the copyright of Transformers.

　　 Later, a kind of unhealthy trend of making movies just to sell the surroundings came into being.

　　 Although this is a bit exaggerated, the importance of peripheral income is not to blame.

　　 Producers can allow well-known directors and superstars to meddle in box office and DVD-related income, but they will never allow them to meddle in other peripheral income.

　　 Its importance is evident from this.

　　 And the series, even more so.

　　 Charlotte is aiming here now

　　 Rowling herself has the most complete system and the largest imagination, but it is difficult to generate much peripheral income.

　　 After all, whether it is a magic wand or a Hogwarts school uniform, you can only replenish it with your brain, but you can't make it into a real object.

　　 Only by visualizing it can we open up the surrounding market.

　　 And visualized, there are high and low points.

　　The best, of course, is to produce a high-quality live-action movie based on the original work like Charlotte's original world series.

　　 This is the best promotion plan, but it is also the most costly and time-consuming plan.

　　 The second thing is animation.

　　 In this regard, the most proficient player is the Japanese side.

　　The animation industry in the island country is very developed. They have a very mature original comic-TV animation-live-action movie triple jump structure.

　　Every time you jump one level, the influence of your work will expand, and the range of peripheral products will also become wider and wider.

　　 By the second decade of the 21st century, China has gradually learned this in terms of ip development. The most proficient player among them is also an Antarctic creature.

　　 As for the United States, although the cultural industry is equally developed, and there are more long-standing comic industry giants such as DC and Marvel, they pay more attention to the relatively low-quality TV animation.

　　 Even though almost every superhero with a little fame has an animated version, the influence is relatively average.

　　 However, it is not that the American television animation industry is not profitable.

　　 The fact is that every TV anime that can be broadcast on American television is almost the same as other longevity American dramas. It can be played for several seasons or even more than a dozen seasons.

　　 One season basically means one year.

　　 During this period, the related peripheral income will even exceed that of many live TV series.

　　 Cartoons, selling peripherals is naturally easier than the live-action version. Just look at Disney's big kills in the movie peripheral market.

　　 As for why the television animation industry in the United States has not been well-known, Charlotte believes that it may be related to the abnormal state of the American film industry.

　　 No way, for the dollar, Hollywood screenwriters, directors, and producers have been thinking about what suits to be adapted into a movie almost all year round.

　　 After all, with the original work as the base, the safety factor of adaptation works is far greater than that of purely original works.

　　 This is a very helpless reality.

What's even more frustrating is that because of the hyena-like perverted commercial sense of Hollywood practitioners, local cultural works in North America, regardless of comics or comics, are often bought directly by Hollywood before they can enter the stage of making TV animation. gone.

　　 That is, the strong film industry in the past in the United States directly squeezed the living space of the TV animation industry.

　　 In the United States, the normal ip development process has become the original-movie-TV animation, that is, only after experiencing the bonus of successful movies, in order to further develop the surrounding market, will there be TV animation.

　　 There are many examples in this regard

After 　　 prequel, a TV animation version of the series was produced;

　　 And, also after the success of the movie, the corresponding TV animation version was born...

　　 Therefore, in North America, there are not so many cultural ips that are animated on TV without experiencing movies.

　　General TV animation, except for a small number of original works in the true sense, is difficult to film because of technical or style reasons, or because the copyright of the film has not been negotiated.

　　 This is actually a problem of time lag, not because the television animation industry in North America does not make money.

　　Charlotte is going to play now is a time difference.

　　 He knows the direction of the original world, and understands how likely the series is to succeed.

　　 If he can directly take the copyright of the TV animation version now, he can directly use his own unique spell and technology to make a high-quality TV animation at a lower cost.

　　 and it can almost be listed simultaneously with the original.

　　 This not only promotes the works quickly, but also means that the benefits of related peripheral products will be held in his hands before the film series.

　　 After all, just like before, Rowling’s words alone cannot bring out many peripheral products.

　　 But animation is fine.

　　 More seconds is that because there is Rowling’s original work, it is made into TV animation, and the script is hardly considered TV animation. Because the time is sufficient, it can basically follow the original work completely, and it does not even need to compress the plot like the movie version;

　　 Even more lazy, he can directly let Rowling do the animation screenwriter.

　　Before the filming, Rowling's time was still relatively free.

　　 After the completion of the transformation of the People's Paper, the specific process of animation does not involve too much energy. Charlotte only needs to pay attention to the character design and scene design.

　　 That is, the adaptation of the TV animation version does not involve too much energy on Charlotte.

　　 He can still make his own movies step by step.

　　 During this period, the series of animations and peripheral income will fall into his pocket.

　　 Even after Rowling became famous, she might propose to amend the agreement and ask for a share, but in the end Charlotte can still get most of it.

　　 Of course, before the filming of this series, the peripheral income may not be that huge, but conversely, the cost that needs to be invested is also very high!

　　Moreover, he can also use the characters and scene design of the animated version to influence the plot trend of Rowling's original work in a subtle way.

　　 This is so much stronger than simply direct interference.

　　 Even ~www.readwn.com~ When Warner and other big capitals step in to formally start filming, as long as the animated version is more successful, Charlotte also has the capital to negotiate.

　　The most important thing is the animation version of the scene and character design, as well as related ratings data.

　　 These things can save screenwriters and directors from the process of converting words into images, and clearly use data to determine which plots in the book are the most popular.

　　 This will save a lot of time for the preliminary preparations for the movie version.

　　 And these things are definitely in the hands of the animation producer.

　　 This is Charlotte's biggest reliance on participating in the production of the live-action film version and ensuring that he will not be kicked out of the game.

　　 In contrast, getting the copyright of the movie version from Rowling is actually a problem.

　　 After all, as long as Rowling is not too stupid, she will sell the right to adapt the first part at best.

　　 Even if it is in his hands, it is not enough to guarantee Charlotte's interests.

　　 Unless he takes risks and makes that movie entirely with his own money.

　　 But the movie version that was born under that situation is no longer about ripening, but forcibly ripening. There is no guarantee that it will succeed.

　　 Charlotte thinks it's better to be conservative.

　　 "Furthermore, to make TV animation, to a certain extent, you can also train the special effects of the Ghost Party Studio and the animators!"

　　 Charlotte explained to Charlize,

　　 "If I succeed in taking the right of adaptation from Joanna Rowling, I am going to make the animation of this work into a 3d scene and a 2d character model." lt;/pgt;