"Bale is still a little young, a young actor, it's true that the gold content is not high. Nolan sighed in his heart.

Wang Zian does not have the title of actor, but his acting skills and dedication are already better than many young actors, and they are still a big cut.

"Nolan, are there any plans for a second part?" Bell asked Nolan.

Nolan didn't answer immediately.

He does have a plan to make a Batman IP.

The current one is the first one.

Original movies, too many folds.

Therefore, once a certain movie explodes at the box office, or even makes a little money, the team will consider making a sequel and a series as soon as possible.

Nolan is now famous enough, and when he filmed the first part, of course, he would also consider IP and series.

"Plan...... Far away, you have to wait for the box office, and the box office can be in order to attract investment. After a while, Nolan said conservatively.

He discussed original films and IP movies with Wang Zi'an, who is not a pure artist and has the identity of an investor.

In the last two decades, almost all original films by Daewoo and Hollywood giants have been gradually decreasing.

Twenty years ago, Daewoo and Hollywood giants still had 51% original films, but this year, less than 25% remained, and last year it was only about 10%.

The box office of IP movies has gradually risen in the past ten years, and a series of derivative products have become more prosperous, and the income of many giants in related industries such as live entertainment has far exceeded the box office income of movies.

Series and IP films dominate the mountain, and it is difficult for original movies to have a chance to turn over.

Remakes, series, adaptations (including true stories, literature, anime, games, TV series, toys, or dramas) are considered non-original works.

All films in any other category than those listed above, as well as the first work in a series that is not a remake or adaptation, are considered originals.

Forty years ago, in the era when original movies were the mainstream, Daewoo and Hollywood produced up to 70% of their films from original scripts.

Most of the films that have been nominated for Best Original Screenplay at major film festivals and won the box office championship are mostly original films.

At the peak of the film market, originality still accounted for half of the country (56%), and many original films that were praised and acclaimed back then are still classics in film history.

But after that, the giant's original movies were like a roller coaster ride in the following time, with a series of blockbusters sideways, and the original movies have been reduced to 38%, and there are only 3 in the top 10 of the global box office.

Ten years after the peak, the number of originals plummeted to less than 25%, and there was only one film in the top ten at the box office, which was still ranked last.

Last year, the giants only had about 10% of their original works, and as far as the eye can see, the entire screen was dominated by series and adaptations.

There are giants whose original scripts are almost exclusively in the field of cartoons.

Many of the original animations owned by giants are prepared for IP series.

In recent years, not only have there been very few original scripts, but some movies adapted from real events have almost disappeared.

Although the film adaptation is not bad, in the past it has always ranked last at the box office of the movies produced by the giants.

As a result, some giants even have only live-action remakes like series animations - all famous IPs.

It is also by relying on these IP movies that some giants have surpassed other old giants step by step and become the current leaders.

For example, last year, the first giant launched 13 films, which grossed $7.33 billion worldwide, and North America earned $3.09 billion, accounting for 26% of the North American market.

In second place, the giant released 49 films — more than three times as many as the first giant, but the North American box office was more than $1 billion less than the first giant, accounting for only 16.3% of the market.

Only more than a dozen movies are launched every year, and the first giant easily stands out from the crowd, relying on IP.

Not only the first giant, but also the film lists of several other giants can also be seen that in recent years, in addition to the second giant, which has the richest genre films and the highest film production, the third giant, which has won the best original screenplay for two consecutive years, and the seventh giant, which ranks at the bottom and is struggling, still has a small amount of original film output every year, several other companies have shown signs of dispensability of original films.

Last year, many giants around the world released zero original films throughout the year.

This seems to be the era of IP.

The dominance of IP and the decline of originality are closely related to the transformation of the industrial structure of giants.

A few decades ago, Daewoo and Hollywood experienced overproduction of films, which, combined with the overuse of production funds, led to financial crises for several major studios.

Later, in order to resist risks, large companies began to implement strategies to control the number of films and show them on a large scale, and the so-called commercial blockbusters emerged from this period.

Released 40 years ago the year ago, "Cosmic War" was the world's first blockbuster franchise to grossing $500 million in its first blockbuster series, and more remarkably, sales of its spin-offs surpassed that figure shortly after.

The Cosmic War spin-off kept the topic in mind, and the money earned was the cornerstone of a sequel to the series.

The audience's interest leaves the film itself and enters the commercial framework surrounding the film.

Affected by this situation, several major studios began to expand their business territory and gradually became a comprehensive entertainment media group, and the film has become a powerful IP promoter with its huge appeal, which is a part of the industrial chain, and is no longer the main source of revenue for the company as in the past.

One of the most typical is Daewoo Leader, which now has a huge IP library, and its business is now mainly divided into four sectors: media networks, parks and resorts, film and television entertainment, consumer goods and interactive media, and IP is the core of its entire industrial chain.

Round revenue is the main business model of Daewoo Leader.

After the film and television works promote the popularity of IP, they will be added to their theme parks to achieve scene linkage, and earn a third round of wealth through gift shops, accommodation, tickets and other consumption; finally, there will be an IP licensing session, which will hold a licensing conference every year to seek consumer goods partners for the new IP in the coming year, and take a part of the licensing fee from the sales of partners.

In such a huge entertainment landscape, film companies are increasingly taking IP as the focus of their deep cultivation: as a kind of cross-media content, IP has a strong vitality and can penetrate into various sectors.

Even if it is an original movie, many of them also serve the original IP and its industrial chain.

According to last year's financial report released by a Daewoo giant, the annual revenue was 59.434 billion US dollars, mainly from media networks (24.5 billion) and parks and resorts (20.296 billion), followed by film and television entertainment (9.987 billion), accounting for only 16.8% of the total revenue, of which the box office revenue of 7.33 billion US dollars accounted for only 12.3% of the total revenue.

The production of IP movies can not only expand the income of the industrial chain, but also another obvious benefit of IP series movies is that the publicity cost can be greatly reduced.

An original work needs to spend a lot of cognitive time cost, and existing IPs and series naturally have their own topics.

Because of its popularity, IP films can have a clear target audience from the beginning of the project, while original films are difficult to accurately locate the audience from the beginning due to their diversity and the repetition and uncertainty in the production process, and it is often necessary to wait until a period of time before the release to figure out the situation with the help of online voices.

In addition to the demand for IP in the industrial chain and lower publicity costs, IP is also the safest choice for film companies to go overseas.

Over the past 20 years, the proportion of overseas box office of several major film companies has been rising, and in addition to the development of the global film market, IP movies have also contributed to it.

The increase in cross-regional and cross-cultural audiences means that there are more and more minefields of film culture and values, and in order to maximize the overseas market, the content that movies can present is naturally becoming more and more single.

Wang Zi'an and Nolan discussed, is there still a chance for the original to turn over?

Despite the popularity of film series in the past two decades, the audience's aesthetic fatigue is still a time bomb hanging over every IP.

The once-glorious "Robots" series faced this problem. The first "Robot" was born a decade ago and won the fifth place at the global box office that year with $710 million, and the next three sequels steadily rose the global box office rankings, reaching $1.1 billion by the fourth installment.

Last year's fifth installment grossed only $600 million worldwide, $100 million less than the first one a decade ago.

The fall of the fifth part of "Robot", in addition to the quality of the film, the audience's aesthetic fatigue of special effects films that lack plot creativity is also a key reason.

The fiasco of only 4.9 points on well-known film review networks, and the negative reviews almost all revolve around "nothing but special effects", "no story, no logic, all routines".

This is a crisis that all IP movies are prone to fall into.

The encounter of "Robot 5" is not an exception, the audience is tired of the "IP package" and produces aesthetic fatigue.

Nowadays, almost all major companies are professional managers, and their approach is to make more and more sequels, so that they will not make mistakes, but they also lack innovation, lack of understanding of the theme, story, and humanities, and everyone is less and less afraid to take risks.

The giants who "dare not innovate" are also trying to save themselves.

The main way to save itself is "original IP+ type film innovation".

Although facing aesthetic fatigue, the IP that still has a strong appeal is still a treasure trove that cannot be easily given up, as long as the content is refreshing, it can still save the reputation.

Just because a series of movies doesn't mean it's not creative.

In addition to adding creativity to IP, giants have also paid more attention to the path of "sci-fi blockbuster + author director + original script" in recent years.

In the past five years, there have been only 13 original films in the top 30 global box office, five of which are science fiction films, and each of them has concentrated today's top directors.

In this era of more and more abundant entertainment and leisure methods, whoever keeps it fresh and original may have the initiative in the future.

Judging from this year's film list, the originality of several major companies has recovered slightly.

There is no doubt that under the influence of the globalization of the film industry and the development of the film industry chain, IP films are still the main direction of the giants.

But Nolan and Wang Zi'an firmly believe that with the audience's gradual aesthetic fatigue of "IP", the opportunity for original movies has come!