The perfect future of rebirth

If we say ten years ago, Ye Jing might think that people should be more idealistic, and being a good actor is better than anything else.

But now, Ye Jing is no longer that passionate young man who doesn't understand anything.

In his worldview, the highest criterion for everything is to make the company profitable.

If you don't make money, what's the use of cultivating artists or stars?

As a mascot?

It's like an art film. After the filming is finished, it will not be released, but it will be reserved for the director and investors themselves?

Those who threw out were real money, not Chinese cabbages on the street.

Sometimes thinking of the movies he was fooled into investing in, Ye Jing felt that he was so naive and stupid at that time.

Therefore, the current Ye Jing, even if he is said to be a vampire, still insists on implementing a profit-oriented business strategy.

Although this may be laughed at by many people, he feels that it is better than almost losing his fortune as he did when he was filming "Laughing Generously".

This shitty society is extremely realistic, they only remember the successful people, and those who failed are not remembered.

Ye Jing knew very well that without Zhao Fusheng, he would be one of those losers.

His idea is correct. In his last life, Ye Jing became a frustrated person in the Beijing circle. After all, whether it is Xiaogangpao, the Wang family brothers, or others, in a strict sense, they have all died. It is the existence of success and fame.

Only he, has been unknown.

If it wasn't for being one of the bigwigs in the Beijing circle, no one would even remember that the chicken-eating rich man in "Party A and Party B" was such a legendary person.

Thinking of this, Ye Jing looked at Zhao Fusheng and said, "Fusheng, I think we can actually try to introduce some young people."

"young people?"

Zhao Fusheng was stunned for a moment, and told him intuitively that what Ye Jing is about to say might change the direction of the entire future development of film and television.

ps: Please subscribe, please reward!There will be an update in the middle of the night!Please support us a lot!

Chapter 4 Flow

young people?

Hearing Ye Jing's words, Zhao Fusheng frowned.

His intuition told him that it was impossible for Ye Jing to make this request for no reason.

In other words, he must have considered it for a long time before making this suggestion to himself.

As the de facto director of future film and television, Ye Jing is very clear about the impact that a certain decision of his will have on this company and even the entire entertainment industry.

But he still said it.

Therefore, Zhao Fusheng has reason to believe that Ye Jing must have some ideas.

"Choose some young actors with outstanding looks and good images, and find ways to increase their attention. There may not be any representative works, but they must be able to attract the attention of the public."

Ye Jing looked at Zhao Fusheng and said slowly.

"…………"

Zhao Fusheng was a little dazed, and sat there without saying a word for a long time.

"Why, isn't it a bit whimsical?"

Seeing that Zhao Fusheng didn't speak, Ye Jing thought that his thoughts didn't move him.

"No, it's not whimsical."

Zhao Fusheng shook his head, but said with a smile: "It's your idea, which is too advanced."

what?

Ye Jing looked at Zhao Fusheng in surprise, obviously, he didn't understand what Zhao Fusheng said.

Zhao Fusheng chuckled, and said to him with a smile: "You mean to increase the traffic of those artists, right?"

Traffic is originally an attribute of an artist, not an identity.

Starting from Ke Zhendu, the original standard of nationality and hot topics was taken as the original standard, and Li Yifeng enriched the definition of traffic with the new media index

To put it bluntly, traffic is the degree of topicality, and every move of these artists will attract attention and bring popularity.

Therefore, these people are also called traffic stars.

So the question is, what can these traffic niches and traffic florets bring to investors?

This matter needs to be analyzed from many angles.

Taking the film industry as an example, the fact that traffic stars are in power is a bit like the sky-high price of moon cakes back then.

Manufacturers who produce and sell mooncakes do not pay attention to the taste and quality of the mooncakes themselves, but put a lot of effort into the packaging of mooncakes, hyping up the so-called collection value of mooncake packaging. The most expensive mooncakes even cost tens of thousands of dollars a box, but they The difference between the taste and a few dollars is actually not that big.

This caused a short-lived boom in the mooncake market, but people did not need rosewood mooncake boxes during the Mid-Autumn Festival.

The market demand is gradually weakening, and the government has also strengthened supervision. After about one to two years, the sky-high price moon cakes basically disappeared.

Maybe there is still a small part left, which is sold as handicrafts or luxury goods, but it is impossible to imagine it being as popular as it was back then.In fact, the economic phenomenon caused by traffic artists is similar to the sky-high price of moon cakes.

The appearance and popularity of actors are just the outer packaging of film and television works. What the audience really needs is the profound artistic conception of art films and the wonderful stories of commercial films. These require various functional departments including actors to deeply polish their skills .

Just like when people eat moon cakes, they may care about whether its packaging is exquisite, but they don't think it tastes better because of its exquisite packaging.

In the final analysis, film and television works are commodities, and commodities of course need packaging and promotion.But if the price of the packaging is greater than the product itself, and the publicity is exaggerated, it violates business ethics.

People don't need packaging that is more expensive than the product itself.Selling people something they don't need is really a game of fishing - cheating consumers' trust, making a buck, and ruining your reputation at the same time.

After many years of this kind of thing, Zhao Fusheng has seen many examples.

Especially those variety shows on TV stations, the routine is all over the show.

Even five years from now, no one will deny the influence of traffic stars. Relying on traffic stars can indeed obtain benefits beyond expectations, no matter in terms of market volume or real box office conversion.

Five years later, "To Youth" hit a box office of [-] million yuan, which started a trend of "big ip+traffic stars" in the Chinese film market. Fans seem to earn extra money.

In the same year, "Little Times", directed by Xiaosi and starring Da Mimi, leveraged a box office of nearly 300 billion at a cost of [-] million, and the return on investment was even more profitable.

The market suddenly fell into a carnival.

It's not that Zhao Fusheng didn't think about this problem, but he didn't expect that Ye Jing had already started thinking about launching a traffic star in only [-].