The Best Entertainment Era

Even when he returned to Los Angeles, Ronan has been maintaining enough communication with Netflix, and even the production department of Shahai Entertainment has joined the ranks of frequent communication with Netflix.

In the future, Netflix's streaming media model will also have a huge impact on Shahai Entertainment's production.

If all goes well, when Netflix crushes video stores and overtakes TV stations, it will naturally enter the film production industry and cooperate more closely with Shahai Entertainment.

And Netflix member users always want to see more TV series, movies, variety shows, etc. The more choices the better. After Netflix has established its position in the industry, it will become easier and easier to attract good creators.

Even as before, big directors and popular stars filming online dramas are no longer preconceived as unpopular things.

Ronan summed up some of Netflix's models based on his memory. In fact, Netflix will not be rejected by Hollywood practitioners, because it means increasing job opportunities for them.

As we all know, there is a huge difference in remuneration and union opportunities between popular Hollywood stars or directors and second-tier directors. The former often earn millions or even tens of millions of dollars in remuneration, and there are sometimes too many projects to choose from.

The latter seems to be only one level behind, but the pay is often only a few dozen or two hundred thousand dollars.

Even if it is such a job opportunity, there are not many.

Moreover, under the existing Hollywood production system, movies with certain authorship and commerciality are to some extent abandoned.

Nowadays, independent labels are declining day by day. For practitioners in the industry, they have to either make big-budget films from big studios, or make low-budget independent films. The former has money, while the latter has freedom, and each has its own survival system.

However, movies with intermediate costs are more difficult to deal with, and are restricted in all aspects. The key is that the cost may not be recovered.

The emergence of Netflix just created an opportunity.

In fact, Netflix’s convenience for film production and distribution is not limited to this. For example, it can easily connect domestic and foreign production and distribution resources, prolonging the life cycle of a film; Cinemas all over the world need to spend money to maintain their operations, and a series of costs are very high. Digitalization has only reduced the cost of a part of the link.

And distributing a movie through an online platform does not require copies, does not need to spread too much hard advertising, does not require middlemen, and even saves movie theaters.

So are some movie theaters going to close down? obvious.

Therefore, once Netflix participated in the Cannes Film Festival, the French panicked as if they had seen the German invasion.

Because the most impacted by Netflix is ​​precisely the art theater that likes to maintain the so-called tradition and not keep pace with the times.

Art films don't need very good projection equipment, and even big screens and widescreen monitors are not very different.

On the contrary, the impact on commercial theaters will be smaller. For commercial films with special effects above the medium scale, there is a huge difference between watching them in theaters and watching them on small screens.

As a result, Hollywood and Netflix have an ambiguous attitude, and even cooperate closely. In contrast, the art film circle in Europe regards Netflix as a wolf.

If I have to list the advantages of theater screenings of art films, I am afraid that only the sense of ritual is left.

Under the coordination of Ronan, the communication between Netflix, Shahai Entertainment and Embassy Pictures has been very smooth, and the former can provide the latter with a series of market data.

As of the end of last year, Netflix users generated more than 20 million actions every day, including clicks, registrations, movie selections, rentals, etc., as well as more than one million search requests. The database can use these data to accurately analyze what topics users care about most , which actor you like the most, which lens you never forget, etc., it can be said that you know every user's taste like the back of your hand.

When these data are transferred to Relativity Entertainment, this kind of situation is likely to happen. For example, if a popular IP is going to be made into a movie, most fans hope that a certain male and female star partner may come true.

In fact, in Ronan's view, for a long time to come,

The Internet video business of Relativity Entertainment and the physical theater screening business will co-exist, which allows different types of movies to find their most suitable platforms, and also puts forward higher requirements for the audio-visual quality of theater movies.

For the audience, there is no conflict between the whole family going to the cinema to watch popcorn blockbusters on weekends, and watching streaming videos on a tablet alone in the dead of night.

Moreover, as the classification of movies produced by online video platforms becomes clearer, new industry rules and related management regulations will also emerge in North America. And it has formed a relatively balanced relationship with the physical theaters in the process of gradually running in.

In this era, all walks of life are becoming Internet-based, which is an irreversible trend. As a traditional industry, we can only learn to actively adapt and find the next outlet in the integration.

With the current development situation, it won't take long for the old guys in Hollywood to sense the crisis, feel the opportunity, and realize that streaming media will unstoppably become the future of entertainment in the Internet age.

In the last few years of Ronan, major traditional film companies represented by Disney, Warner, and Universal competed to announce plans to build their own streaming media platforms. Even technology companies such as Amazon and Apple hope to exploit the streaming media market with the advantage of resources and share the dividends of film and television content in the new era.

Now that Relativity Entertainment and Netflix can move one step faster, they may have a greater advantage in the industry in the future.

Ronan once carefully analyzed that it was undoubtedly Walt Disney who could really compete with Netflix in streaming media at that time.

There is no other reason. In the past, Disney removed the advantages of Disney itself, and later held Pixar, acquired Marvel Comics, annexed Lucasfilm, and possessed the most popular and high-quality content in Hollywood.

Content is the basis for streaming media business.

But now, apart from Pixar Studios, other companies and content are still very far away from Disney.

Ronan has also been making plans to completely isolate these important content producers from Disney.

Now that Walt Disney has been poached once, and Robert Iger, the smiling Mickey Mouse, is invited, Ronan doesn't mind digging a few more times.

At the same time, Ronan also asked Shahai Entertainment to introduce to Netflix two programs tailored for Netflix's online video business.

According to the plan, these two programs can be launched at the same time as Netflix's online video business.

The crew of Survival in the Wild has been formed, and many professionals have been recruited. They are looking for suitable locations and designing scripts all over the world.

However, the key figure Bear Grylls is still floating in the Atlantic Ocean, and it will take some time to reach North America.

Another TV drama project is officially called Prison Break. The script was finalized just a few years ago, and Shahai Entertainment has already started the recruitment of actors and directors.

It is expected that it will take three months at the earliest to enter the shooting stage.

Ronan couldn't remember the name of the leading actor in this show. After all, the actor in his previous life became popular for a while because of Prison Break, and then disappeared from everyone.

He simply asked Shahai Entertainment to determine the actors through a wide range of auditions.

Since 2002 has passed, a lot of statistics have been sent to Ronan since this time, especially related to movies.

Last year, the North American DVD sales of eight movies exceeded 100 million U.S. dollars. The top three were Spider-Man with 12.2 million copies and 201.5 million U.S. dollars, The Lord of the Rings: The Fellowship of the Ring with 12 million copies and 201.5 million U.S. dollars. $200.57 million, 11.8 million and $202.51 million for Monsters, Inc.

Because Bourne Shadow was first released on DVD at the end of 2001, although it did not rank among the top few, it still sold 6.5 million copies and 120.54 million US dollars throughout 2002, ranking No. 1 on the North American DVD sales list last year. eight.

But in the rental market, Bourne Shadow overwhelmed all competitors, ranking first in the North American rental list with more than 20 million rental times and a rental income of as high as 88.98 million US dollars!

This is also the best rental performance of a Hollywood film in a single year after The Sixth Sense's $98.6 million rental income.

Counting 2001, on the DVD alone, Bourne Shadow achieved a revenue of nearly 240 million US dollars in North America.

For many movies, it is no longer unusual for DVD revenue to exceed the box office.

Of course, just like the North American box office has to be divided into layers, DVD revenue also has various costs.

There is a share of the box office from the theaters, and channel fees are indispensable for DVDs.

But dvds cost a lot less.

Excluding costs, publicity and distribution, and various channel cuts, the DVD profit of Bourne Shadow was 112.1 million US dollars.

By the end of 2002, taking into account the profits of various channels and peripherals in North America and overseas, Relativity Entertainment's profit on the single project Bourne Shadow was as high as 205.67 million US dollars.

dvd has already accounted for more than forty percent.

Throughout 2002, Relativity Entertainment did not produce many films, but its performance was still outstanding. Even after excluding the US$60 million invested in Netflix’s capital increase and share expansion, the tens of millions of US dollars spent on establishing an animation studio, and various expenses, it still achieved a billion yuan. Net profit of $86.8 million.

Older films are still relying on the offline market outside of theaters to generate profits, and new films such as Resident Evil, Underworld, Reaper 2 and Taken have performed well.

Especially for the latter two, Reaper 2 has already been released in North America, with a North American box office of US$101.02 million and a global box office of US$12.01 million.

The North American box office of Taken is even higher, already close to 175 million U.S. dollars, and it is very hopeful that it will exceed 180 million U.S. dollars in the end, and its overseas income is also close to 150 million U.S. dollars.

Relatively speaking, 2002 was just a small year for Relativity Entertainment's movies, and 200 was the real big year for movies.

Although Relativity Entertainment is still taking the high-quality line, in 200 years, both the number of films and the scale of investment will create a new record since the company was founded.

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