Most people think that a big investment can have a big return, and a small investment wants to have a big return, it depends on luck.

But in fact, this statement can only be considered true under certain conditions.

For example, if a film can only be distributed in Hong Kong, then the investment in the film must not be large.

Because the current box office ceiling of Hong Kong films is more than 40 million Hong Kong dollars, and only occasionally a few movies can reach this level.

In this case, according to the method of halves between the roughest producer and the distribution theater, the profitable investment point of your movie is also less than 20 million.

More than 20 million will basically be lost.

And this is still a box office that can exceed 40 million Hong Kong dollars.

But there are only a few movies that exceed 40 million a year.

There are only a handful, and even the market is not good, and it can't be reached.

And even if it can reach 40 million, but you spend 20 million investment, how much profit do you have?

With an investment of 20 million, can you get a return of tens of thousands, hundreds of thousands, hundreds of thousands?

This investment and return are too disproportionate.

So, in this case, investing too much is not worth the loss.

Invest a few million or more than 10 million at most and it will be dead.

The scale of investment like the Tricky Expert and the Flying Eagle Plan is absolutely not eligible for investment.

Fortunately, the trick experts and the Flying Eagle plan are heading for the foreign markets in East Asia and Southeast Asia.

When the market size goes up, it is natural for the investment scale to rise.

However, an investment of 115 million Hong Kong dollars like the Flying Eagle Project is still too risky for investors.

Compared with the trick expert, the net income of the two movies is about 35 million, but the investment risk of the trick expert is much smaller.

This illustrates the problem that not all big investments will necessarily yield big returns.

This is a premise, that is, the market you are facing must be large enough to support your huge investment, so that your huge investment can have a huge return.

Qiao Feng looked at the report and came to a conclusion, that is, if he only faces the East Asian and Southeast Asian markets at present, then his investment in movies must not learn from Golden Harvest, and he cannot fill it like a bottomless pit.

You have to get a hat, you have to have an upper limit.

And we must start consciously restricting the remuneration of its artists.

Otherwise, if it is allowed to rise endlessly, then when the time comes to make a movie, the remuneration of two or three big-name artists can make the investment exceed the investment ceiling.

It's not that this won't happen, but it's inevitable that it will happen if it is allowed to develop.

Like the mainland film and television industry in later generations, there is also the music scene, in just over ten years, the artist's salary has risen hundreds or even thousands of times.

There are even people who were unknown before, just because they acted in a phenomenal film and television work and then became popular, and the salary dared to rise from tens of thousands, hundreds of thousands to tens of millions of yuan.

This is not possible even in Hollywood.

It is impossible to appear in any mature film and television market.

It's an exaggeration.

However, in the hinterland of later generations, it was so logical.

Admittedly, this is due to the sharp increase in the volume of the mainland market.

But is the U.S. market big?

In the eighties and nineties, the top superstars in the United States were paid 20 million dollars.

At that time, Hollywood movies had not yet entered the domestic market on a large scale, and they did not enjoy the huge market dividends of the mainland.

Then, in the 21st century, Hollywood enjoyed the huge dividends of the mainland market, and as a result, the salary standard of the top superstars was still 20 million US dollars.

Thirty years later, the top threshold for Hollywood superstars is still $20 million.

As for those stars in the mainland, they can only run rampant in the mainland market, and they may not be rampant, but their salaries dare to be on par with Hollywood superstars.

Not to mention making movies, just making TV series will dare to ask for hundreds of millions of yuan in salary.

The result is that the actors have fattened their own pockets, but the producers can only use less than half of the investment to produce film and television dramas, so that the quality of the finished film does not meet the investment standards, and then the audience ridicules and complains.

At this time, although Hong Kong was not as unpleasant as the mainland in later generations, such signs had already appeared.

And if this happens, there are not many people in Hong Kong who are willing to invest in films, and can afford to invest in films, and can afford to lose money.

And because of the increase in actors' salaries, the proportion of expenses that can be used to make movies will be greatly reduced.

Then the quality of the movie will be affected and thus the box office.

Producers who lose money and lose money will go out of business or face financial problems, reducing investment and production.

Then there will be a vicious circle, because of the decrease in investment in films, Hong Kong cinemas will not get enough film sources will be reduced, and because of the introduction of a large number of foreign films, it will be difficult for local films to survive.

And because of the decrease in the production of local films, a large number of film practitioners will lose their jobs.

And film practitioners who are facing unemployment will make movies of average quality in order to struggle and make a living.

and then further lower people's expectations for local films, and then .........

It is true that the decline and decline of the original space-time Hong Kong film will definitely not be so simple, and the reasons are absolutely complex.

However, the huge investment in films is definitely one of the important factors.

Because for businessmen, too large investment risks are indispensable.

Therefore, Wang Jing of the original time and space said that the decline of Hong Kong films was caused by the fact that Taiwanese filmmakers spent huge sums of money to buy Zhou Xingchi's Jigong but suffered a bloody loss.

Of course, this can't be entirely blamed on Zhou Xingchi.

Because even if there is no Jigong, even if Jigong earns it, there will always be some other movie that will become this fuse in the end.

In the final analysis, too large an investment will inevitably make the stakeholders of any link bear huge risks.

And if this risk is so big that most stakeholders need to bear it, the inevitable result is to break the old pattern, bring new members into the game, and reformulate the rules of the game.

Although it is not broken, it depends on whether you have the strength to break and stand up.

The Hong Kong movies of the original time and space obviously do not have the strength to break and stand up.

The result is that after the glorious ten years of Hong Kong films, after being invincible in Asia, in just a few years, a large number of film practitioners have been so lonely that they can't eat, and they have to rely on Wang Fatzi, who is ridiculed as, pee and fart, and has a low-end style, to feed half of the Hong Kong film industry alone.

"Look, godfather, godfather, snow, it's snowing outside, it's white."

"It's amazing, I saw the whole world white for the first time."

Just when Qiao Feng looked at the report and thought about it a lot, two surprised childish voices sounded in his ears.

Then his face was grabbed by a pair of small hands and turned to the window.

"When I get off the plane, I want a snowball."

"No, brother, I'm going to build a snowman."