The filming of the film has been completed, and there is only a little dubbing and some music that still needs to be adjusted in the later stage, but the finished film has basically come out, and the result of the review is R, which is a good grade.

The promotion and distribution of the film, naturally someone is busy, so Zhou Fangyuan doesn't have to worry about this.

After watching the finished film, he is very satisfied, which fully shows that his choice is correct, whether it is the story node, or the timing of shooting, or the director candidate, he has made the right choice, and the next step is the distribution of the film.

Here, let's briefly talk about the entire process of the movie from beginning to end.

Just as every company has a founder, every film has a promoter, and that promoter is actually a filmmaker. In China, they are the top managers of movies or TV series, and they are fully responsible for the overall work of "picking books, forming teams, finding money, making films, and selling films".

Picking a script is the first step in the creation of a film and television work, and generally the producer will extensively search for a large number of ready-made scripts to select from them, or find a large number of fans in the market (i.e., IP) to buy out the copyright of it, and then ask a professional screenwriter to adapt it into a script that can be filmed. It is also possible to directly search for ready-made scripts, in short, whether it is to create from scratch, or buy copyrights, or buy ready-made, all can be regarded as picking books.

Forming a crew is the second step, after determining the script, the producer has to choose a suitable director to direct and shoot. The prototype of such a main creative team with producers, screenwriters, and directors as the core has been preliminarily determined. Of course, it is not excluded that some project crews weaken the screenwriter, which is different in each crew and cannot be generalized. After the director is selected, the producer will discuss with the director and screenwriter on the revision of the script, the matching and selection of actors, and the construction of other departments of the crew. Then it is to find funds, film and television projects from pre-preparation, mid-term shooting, post-production, to review, and then to the final publicity, the investment of funds runs through every link of the whole process, so whether the project can be carried out in an orderly manner, the abundance of funds has become the top priority. In the past, the traditional way to find funds was to platter the plate, that is, the producer first took out a part of the start-up capital, and then found various producers, such as film and television companies, funds, independent film and television investors, etc., to jointly fund the funds to complete the follow-up shooting. Now more and more producers have also chosen crowdfunding funds as the producer, which is due to the fact that compared with the past, most of the funds for film and television production came from film and television companies and fund investment companies, and the entrance of the source of funds was relatively single and closed.

The introduction of crowdfunding not only enriches the source of funds for film and television production, but also allows more people in other industries to participate in film and television investment, so that it can play a role in publicity and promotion in the early stage of project creation, broaden investment channels, integrate more resources, and achieve the effect that one plus one is greater than two.

Of course, direct investment by himself like Blizzard and Yuanfang Media is also one of them, so why is Zhou Fangyuan a producer, because the script was made by him at the beginning, although he didn't move, but he also put forward opinions on the choice and direction of the plot. Then he found director Cameron, who was in charge of the investment, and he was the producer of the film.

If a film and television project is compared to an oil lamp, the producer is the lamp oil, then the director is the wick in the lamp oil, the volume of the lamp oil determines the longevity of the oil lamp, and the quality of the wick determines the brightness of the oil lamp. When the team is set up, the money is ready, the shooting address is selected, and the actors are in place, the film officially enters the filming stage, and the director's soul role in the crew begins to be highlighted. The director's creation is based on the film literary script, and in the process of directing and shooting, he carries out artistic conception, writes a storyboard script and "director's elaboration", including the grasp of the theme and idea of the future film, the description of the characters, the scheduling of the scene, and the determination of the time and space structure, sound and painting modeling and artistic style.

Then find and determine the actors, and according to the overall concept, put forward requirements for the creative departments such as photography, actors, art design, recording, and composition, organize the main creative personnel to study the relevant materials, analyze the script, concentrate and unify the creative intention, and determine the overall creative plan of the film. The director also leads the on-site shooting and various post-production work according to the production plan arranged by the production department until the film is fully filmed. The quality of a film is largely determined by the quality and accomplishment of the director, and the style of a film often reflects the director's artistic style.

After the filming is completed, the director's next important job is to check the post-production of the film – of course, this premise is that the director has the editing rights. In addition to the ability to tell a story, the language of the shot and the language of editing are generally the best expression of a director's style. Editing is all about straightening out the clutter of the story, and the events are arranged according to a clear timeline. The director will pick and choose among the many clips, find what he wants, and remove what he doesn't like. The duration of this work is generally difficult to define, maybe a 90-minute movie, 400 minutes of shooting, and 200 minutes of preliminary cuts, at this time the director can choose to do post-production, or continue to shorten.

What's more, some directors already cut the footage every day during filming, so the fast-handed director can hand in the finished film after a week of shooting.

This naturally also includes the content of film and television post-production: video editing, material processing, special effects processing, subtitle processing, audio processing, packaging processing, and finished film output. The basic production process is not complicated, such as initial editing, formal editing, composition and selection, special effects recording, and dubbing synthesis. After a film project completes the work described above, it must enter the most critical link - submission for review. At this point, domestic and foreign are not the same, but the meaning is roughly the same. Film, after all, is a media behavior with a very strong sense of intuition, and it is impossible to completely let go of freedom in any country, it is nothing more than that some countries are stuck tightly, some countries are relatively loose, and the focus of each country is not the same, in short, it cannot be generalized.

For example, in China, the "Dragon Mark" is the Peugeot that has passed the review, and there is no "Dragon Mark" movie, and no one dares to buy it or broadcast it.

After the submission is approved, the most important step is to be carried out - selling the film.

After the filming of the film, the producer has to immediately coordinate the publicity and distribution, and the previous publicity is very simple, send a few drafts to the media, hold a few press conferences, and this matter is over. But this method is getting more and more different now, publicity and marketing are included in the scope of work of the publicity team, and among the things they have to do every day, writing press releases and finding news points has become the most effortless thing, and hyping up topics and making gimmicks is the most important thing. Some staff members of the film promotion and marketing team complained that many of the filmmaker's staff are extremely unprofessional, and film promotion is a long-distance run, and the most important thing is stage planning, material production, and integration of resources, but many of the filmmaker's heads and even directors intervene in the promotion, and open their mouths to ask you what you have ideas.

In fact, this is ridiculous, because movie promotion and advertising are not the same thing, and the publicity team is not a point company, impetuous ideas can't save a movie, in the final analysis, the quality of the movie is the most important thing.

Distribution refers to the sale of films, and in addition to supplying films, the main job of the distribution company is to be responsible for the promotion of the theater position and the implementation of the number of film schedules, so as to maximize the film scheduling rate. For example, a distribution team needs to run all over the theaters in first-tier cities in China, and everyone divides up their forces to communicate, communicate with the theater manager, and implement the theater ground promotion plan and the final film schedule, from the placement of a poster to the ability to add the film to screening.

In the past, for arranging the film schedule, the rules of the game in the circle were that small films let big films, and big films let imported films. However, today, the formulation of the entire schedule is becoming more and more standardized. For example, the distribution company's box office estimate for a film is 300 million, which means that at least 30% of the film scheduling space must be obtained, and the target audience, marketing plan, and attendance rate must be objectively estimated in advance, and there are different publicity strategies for different regions, which is a complete set of implementation plans, and the formulation of schedules is only one of the links. Since then, a complete theatrical film has been truly completed from pre-planning to mid-stage shooting, production, submission for review, and then to post-publicity and distribution.

No, for all filmmakers, the most important thing is income.

Movies that can't make money can't survive after all.

All box office revenues of the film are counted in the electronic system, and the data is uniformly summarized to the special fund office for the film industry. The statistical data of the Office of Special Resources Management shall be used as the basis for the allocation of accounts by all parties. All film income is subject to a special business tax of 3.3% and a special fund of 5% for the film industry. The remaining 91.7% can be recognized as a film's "divisible box office". In this divisible box office, cinemas and cinemas retain 57%, and China Film retains 1-3% of the distribution agency fee. The remaining 40-42% goes to film producers and distributors, and of course 40% in most cases.

The distributor of the film will charge 5-15% of the box office attributable to the producer and distributor as a distribution agency fee. That is, 2-6% of the box office can be divided as the distribution agency fee.

In many cases, the distributor prepays for the promotion and distribution of the film, and the distributor will charge 12-20% of the agency distribution fee. If the issuer commits to issue a minimum guarantee, buyout the issuance, prepaid production fees, etc., it will charge a higher issuance agency fee. Some films are at a competitive disadvantage in the same schedule, and for the purpose of increasing the number of film screenings, they promise box office rebates to theaters and theaters. Rebates generally account for 3-5% of the box office that can be shared.

To summarize simply, if a film with a final box office of 100 million, the box office return recovered is about 33 million, which is about one-third. For example, those movies with hundreds of millions of investments at every turn, selling more than one billion can be regarded as a return on investment, so making movies is not really as profitable as it seems. There are those who make money, and there are those who make a lot of money, but after all, they are only a minority, most of the film investors, it would be good if they could recover their capital, thank God for losing less, and there are no pants left that are directly compensated, and there are not a few.

Of course, the income from the movie is not all released in theaters. In addition to its release, there are other revenue streams for movies.

For example, copyright income, which mainly refers to the sale of TV exhibition rights and Internet broadcast rights. In this part of the income, the acquisition fee of Yang Ma is 1.4 million to 4 million per film, mainly based on the theme of the film, the channel scoring system, audience expectations, cast, and the final box office. The price of online copyright fluctuates greatly, ranging from hundreds of thousands to millions, mainly related to audience expectations, casts, and final box office. Then there is overseas sales, mainly the distribution income and copyright income of other overseas countries, including Hong Kong, Macao and Taiwan. This part of the income is currently low and has great growth potential.

Then there is the business cooperation, mainly the income obtained from product placement, marketing cooperation, event naming, etc.

Licensing and derivatives are mainly the authorized use of film images, titles, important visual elements, etc., as well as the sales revenue of copyright derivatives.

Some works can also receive government subsidies, mainly government-led cultural industry subsidies and local government special subsidies.

In addition, there are industry subsidies, mainly for the production of films in 3D or giant screen format, and after the box office reaches a certain number, enjoy special industry subsidies. If the box office is between 50 million and 100 million yuan, 1 million yuan will be rewarded, if the box office is between 100 million and 300 million yuan, 2 million yuan will be rewarded, 300 million to 500 million yuan will be rewarded, and if the box office is between 500 million and 100 million yuan, 10 million yuan will be awarded.

As for Hollywood, there are basically three modes of account sharing.

The first is the same as in China, needless to say.

The second is to buy out directly, and the theater will buy out the copyright of the film for a sum of money. And then how much money can be made after the release, that is the business of other theaters, and it has nothing to do with the producer's half a dime.

The last one is the stepped account sharing.

For a Hollywood blockbuster, there is a relative standard for the percentage of theaters to receive in the first few weeks of the film's release, so more and more studios want their films to win the first place in the opening week to maximize profits. They have greatly increased the number of films scheduled, so that more audiences can enter the theater. A typical big production will have as many as 4,000 screenings in its opening week.

Generally speaking, if a movie has a high box office, the film company's share of profits is often higher than that of the theater chain. For example, a film that grosses $300 million can get a whopping 60% of the revenue from the studio. But for some films that do not perform well at the box office, theaters also have to protect their own revenues. For example, a film that grosses only $10 million can only take 45% of the revenue from the studio. Although Hollywood's film companies are very strong now, theaters also have their own bottom line and will not blindly compromise. In general, the proportion of the local box office of a Chinese film is about 40-55% for the film company.

In short, it's quite complicated, if you're an outsider, you really can't play it. But fortunately, the release of Alsace 1 relied on the two gods of Disney and Cameron to work together, and now that Alsace 2 is about to be released, everything can be good, just use the previous model, but don't worry too much about Zhou Fangyuan.