Reborn Japan for entertainment

Chapter 520 Recovery of Japanese Movies

On the huge TV screen, as the CD was read, pictures began to appear.

"Ok?"

When the famous roaring lion of the MGM film company appeared in the opening credits, Kiyoshi Sakamoto didn't feel strange yet.

However, when the soundtrack with a hint of tension appeared at the beginning of the movie, Kiyoshi Sakamoto's expression began to be puzzled.

He looked down at Yui Aragaki, who was leaning against him, and asked, "What movie is this?"

""007: Breaking the Quantum of Solace"..."

When Yui Aragaki said this in a fit of anger, Kiyoshi Sakamoto knew that he had chosen the wrong movie just now!
He actually chose such a suspenseful action movie in such a romantic atmosphere, and it is very likely that something will happen next. . .

It's no wonder that Yui Aragaki has a small temper.

At this time, Kiyoshi Sakamoto, who realized his mistake, couldn't say, "Let's watch a more romantic romance movie!" and other words to make up for it.

I had no choice but to bite the bullet and continue reading.

The two hugged each other and continued watching the movie.

As the movie played, Sakamoto Kiyoshi and Aragaki Yui were slowly attracted by the movie's fighting scenes and various gunfight scenes.

This is the second "007" movie of the sixth 007 actor Daniel Craig.

It is also one of the world's most famous spy series, the 007nd movie of the "22" series.

I have to say that no matter the plot of the "007" series is good or not, the whole movie is just one word: handsome!

Whether it is a drag racing chase or a variety of fighting and gun battles, they are all typical Hollywood blockbusters with the basic elements.

When people watch it, they will unconsciously keep their eyes focused on the screen.

However, when Kiyoshi Sakamoto saw this Hollywood blockbuster, his thoughts slowly drifted away.

. . .

In Japan, it can be said that so far, there are very few film teams that can produce such a large-scale production film with skilled technology, grand scenes, and smooth narrative.

This is also impossible.

After all, movies are, after all, a business.

As a commodity, it is difficult to fully guarantee the quality of movies, and the production cycle is very long.

This determines that the film industry is actually very risky.

And the higher the investment, the higher the risk.

This is why, except for the United States, a country with a very mature film industry, few countries can continuously produce large-scale films.

The same is true for Japan.

After all, when investing 10 billion to 20 billion yen to produce a movie with excellent special effects and grand scenes, if you want to pay back, the final box office must reach at least 40 billion to 60 billion yen.

If you can't do it, then wait for a loss!
Just like the movie "Killing City" that Sakamoto Kiyoshi is about to join in May, the production cost of the two parts is as high as 5 billion, which means that if "Killing City" can't get a box office of over 40 billion, it means That's it, I can't even get the cost back!

Among the Japanese live-action movies, the box office can exceed 60 billion, which can be said to be pitifully small!
Only the cartoons of Mr. Hayao Miyazaki can be more stable.

On the contrary, for a movie produced with [-] million or [-] million yuan, the figure to be paid back will not be very high.

Just like pure love films such as "Love in the Sky", "Now, I Want to See You", "Calling Love in the Center of the World", there are not too many special effects, and there is no huge production cost, just relying on touching plots, clean pictures, telling With a sad story.

However, judging from the box office achieved by these few films, we can know that sometimes, small productions may not be able to produce popular and blockbuster films.

However, the Japanese film industry has never given up on the desire and ambition to make blockbuster films.

In today's Japanese film production and distribution environment, no matter which film company it is, it is very cautious about making blockbuster films.

Even so, well-produced local Japanese blockbusters in recent years, such as "The Sinking of Japan", "Death Note", "The Yamato of Men", etc., have achieved good results.

As a reborn person with a long-term vision, Kiyoshi Sakamoto also wants to achieve a great career through this, the most popular art medium in the world.

What's more, no matter which country's entertainment circle, the status of a singer is still not as high as that of an actor.

But the actors are just the pawns of the director.

Therefore, after reaching the top of the music world, his eyes shifted to the film industry, that lofty throne. . .

Movie Supervision!

Insisting on buying the film adaptation rights of "Those Years" is also his preparation in advance for becoming a film supervisor in the future.

He felt that as a rookie who had never made a movie, or any TV series, or even a short movie, "Those Years" was a very good start.

After all, there is a precedent of nine knives, and he also has great confidence in his first directing. . .

However, when it comes to Japanese movies, they also had their heyday.

The end of the 50s was the heyday of the Japanese film industry, and both the number of screens and the number of viewers reached the historical peak.

In 1958, the number of movie viewers reached a record high of 11.2 billion, and the number of screens reached 1960 in 7457.

However, such a grand occasion began to turn around in the 60s.

The popularity of television, the emergence of video tapes, and the collapse of the Japanese bubble economy have led to a long winter for the Japanese film industry.

This slump lasted for decades until a turnaround began in 2006.

The number of screens began to drop sharply, and naturally fewer viewers watched, and less movie revenue.

That caused Japan's film industry to be in an embarrassing situation where its development was stuck in a bottleneck for a long time.

However, in 1993, Japanese films began to slowly recover.

Especially in 2006, it became a key node in Japanese movies. The number of big screens in Japan finally exceeded 3000 yuan!
In recent years, many people of insight in Japanese film have vaguely felt that the film industry has begun to slowly recover.

In 2006, the box office of domestic Japanese movies surpassed that of imported movies for the first time since 2000, and it was slightly repeated in 2007. After that, in 2008 and 2009, the total box office of Japanese movies was higher than that of imported movies.

It is worth mentioning that in that year, the two parts of "Death Note" starring Kiyoshi Sakamoto also made a very large contribution to the historic moment when Japanese local films surpassed the box office of imported films. . .

It can be seen that Japanese movies are still the second largest movie market in the world with more than 1 million people watching movies every year!

And what can be brought to Sakamoto Kiyoshi is not only money, but more. . .

It is precisely because of this that the Japanese film industry is still very prosperous, and it is worthwhile for Kiyoshi Sakamoto to join in.

Whether as a film actor or as a film supervisor.

(End of this chapter)