The profitability of animated feature films is even more staggering than live-action films, especially Cars.

The animated feature film dropped from North American theaters in mid-September, and the North American box office finally stopped at $285.97 million.

But by the time the film was released and the DVD was released, the total offline revenue of "Cars" had approached $500 million.

In the global market, there is still a huge gap between online and offline revenues.

"Cars", which is still being screened overseas, has a global box office of $489.52 million, but the total offline revenue has exceeded $1 billion.

"Cars" has also become Relativity Entertainment's single-highest revenue film project so far in 2007.

If nothing else, there will be no transcendents in the later films this year.

Of course, with such box office revenue, Relativity Entertainment has also invested heavily in "Cars".

In contrast, Pixar Studios' holiday release of "Ratatouille" and "Robot Wall-E", Relativity Entertainment's investment in publicity and distribution is much lower.

Especially the latter, the relatively cold plot content and the lack of characters that have become the derivatives design of the market explosion, and the excessive investment is undoubtedly a very stupid behavior.

In the film market, classics are often not equated with commercial gains.

Frankly, Ronan loves the film "Wall-E the Robot" very much, and if it were his personal choice, he would rather watch "Wall-E the Robot" ten times than watch "Cars" more than once.

Purely from the perspective of fans, if "Robot Wall-E" is worth 9 points, "Cars" will have 7 points at most.

The problem is that such large-scale commercial projects, which cost hundreds of millions of dollars, cannot be selected based on personal hobbies.

If it weren't for the fact that when he took over Pixar Studios, "Wall-E the Robot" had already been set up and invested a considerable amount of money, if it wasn't for taking care of the ideas of Pixar Studios' management......

Ronan may simply cancel the "Robot Wall-E" project.

Fortunately, he has focused on controlling the scale of investment, and there will be no sequel to this film.

The Sand Sea Entertainment Animation Studio, led by Chris Renard, has grown well, and with the huge success of the Minions series and Kung Fu Panda, the animation studio has also expanded in size, and now has the ability to produce three or even four animated feature films at the same time.

"Despicable Me 2", "Crazy Primitives" and "How to Tame Your Dragon" are animated feature film projects officially produced by Shahai Entertainment Animation Studio, and "Kung Fu Panda 2" and "Minions 2" are also starting preliminary work.

In addition, an animated feature film project about a singing talent show and a pet world inspired by the toy world of Toy Story are also in early preparation.

As for "Peppa Pig", one is never late every year, and Pink Pig never grows up.

Compared to the established Pixar Studios and Shahai Entertainment Animation Studios, Princess Animation Studios has developed much slower and is still struggling with its first animated feature film.

In mid-September, Ronan participated in a joint meeting between Princess Animation Studios and distributor Embassy Pictures, focusing on the production and distribution of the animated feature film Frozen, which is currently in production.

Princess Animation Studio came up with a sample film, as well as multiple looks for the two heroines, Anna and Elsa.

Ronan vetoed several looks on the grounds that the shapes were not pretty, especially the skirts.

In addition, he also asked the embassy film industry to do a good job in the peripheral distribution of the film, and put "Frozen" on the same level as "Alice in Wonderland" and "Beauty and the Beast".

With the strong support of Pixar Studios, Princess Studios was quick to work on Frozen, and the film's thematic framework was already in place, but the rest of the work such as rendering was extremely time-consuming.

Through the previous animated shorts, these professionals from Disney Animation Studios basically reversed their minds and made the most radical transformation while making "Frozen" - not only did the princess not be with the prince, but the prince could be a bad guy.

This setting is quite crucial, and it involves the promotion and distribution of Embassy Pictures.

The setting of "Frozen" caters to the current women's equality movement in the United States to a certain extent, giving a simple fairy tale a seemingly serious core.

To a certain extent, this is very likely to open up the adult female market for Relativity Entertainment and directly expand the consumer base of IP.

In fact, Elsa is not like a princess of the old times, with an obvious calm, brave, and lonely beautiful modern feminine style.

These have invisibly gotten rid of the label of "Frozen" series, and naturally have more purchasing power and derivative possibilities.

At present, Princess Animation Studio only has this one project, and Ronan is already doing some text preparation work on "Zootopia" and "Ocean Princess", as well as "Six Heroes", that is, "Super Marines".

This won't be on the agenda until "Frozen" is completed.

In the next few years, Relativity Entertainment will usher in an explosion of animated feature films alone, and while you can't expect every animated feature film to be "Cars," the total value of these projects can reach at least $10 billion.

A vast entertainment media empire that is thriving.

In September, Relativity Entertainment's movies were launched as planned, and now the movies produced by Shahai Entertainment are completely based on sequels and adaptations, and the proportion of original genres has been very low.

This time is no exception, not just a sequel, but also an adaptation of other popular films.

Similar to the "Scream" series, "The Grim Reaper is Gone" has come to the second installment, with "The Grim Reaper Coming" as a guarantee and foundation, this spoof series is still not lacking in the market, and the second part received nearly $25 million in the first week in North America, which is already quite a successful commercial return compared to the production investment of almost the same size.

As time goes on, the trend of imminent turmoil in Hollywood has become more and more apparent.

First of all, companies that have close business ties with financial institutions such as Lehman Brothers are starting to find it difficult to raise funds through Lehman Brothers.

For example, several Hollywood companies such as Twentieth Century Fox.

Years ago, Lehman Brothers had cooperated with Hollywood, and at one time approached Relativity Entertainment, but Ronan politely rejected Lehman Brothers' seemingly sincere and well-intentioned investment.

On the one hand, Relativity Entertainment was busy dealing with Paramount Pictures' aggressiveness and operating the Netflix network listing with Goldman Sachs, so it didn't have the time and energy to entangle with Lehman Brothers.

On the other hand, Ronan remembered that Lehman Brothers did not end up in a very good way, so naturally he would not plunge headlong into this quagmire.

However, Lehman Brothers also adopted a wide-casting strategy, reaching out to Relativity Entertainment and talking about partnerships with some companies, including Twentieth Century Fox.

Lehman Brothers first provided Twentieth Century Fox with a loan of up to $1 billion to set up Fox Online.

With a successful start, Twentieth Century Fox later cooperated with Lehman Brothers in many places, providing Twentieth Century Fox with huge financial support, not only becoming a creditor of many Hollywood companies, including Twentieth Century Fox, like many large financial institutions, but also gradually changing its identity and becoming a real investor.

Hollywood has long had various cooperation with Wall Street, and Wall Street's money has also entered Hollywood through various channels.

Just like Walt Disney at the beginning, many investment institutions on Wall Street also hold shares in Twentieth Century Fox, among which Lehman Brothers has the largest number of shares in Wall Street because of its close cooperation with Twentieth Century Fox.

In addition, in the way Wall Street generally works, loans that are lent out can be earned more than just interest.

Like one of the many triggers of the impending brokerage crisis, Wall Street is able to play with loans and bonds.

Lehman Brothers has encountered some financial troubles, and it is more troublesome to draw loans, and it takes time, and some companies cannot afford to repay the loans for the time being, and they have to take the road of auction cash, which is time-consuming and labor-intensive.

Inspired by the introduction of real estate loan bonds and insurance in the financial industry, they plan to package their loan claims into bonds and sell them to third parties to raise the huge cash flow they need.

Of course, a closer collaborator like Twentieth Century Fox was placed at the end of the plan.

Through the relationship with Goldman Sachs and other partners through multiple channels, Relativity Entertainment has also received relevant news, and Robert Iger has also been paying close attention.

In the past, Wall Street money changed Hollywood.

Today, the changes on Wall Street are also profoundly affecting Hollywood.

Seemingly normal Wall Street, once there is an unexpected outbreak, Hollywood will inevitably change.

In addition to the financial implications, another volatile trend in Hollywood was the breakdown of the initial negotiations between the Producers' Union and the industry's trade unions, led by the Directors' Union, the Actors Guild and the Writers Guild.

The union organization put forward conditions that were simply unacceptable to the producers' union, and generally demanded a share of nearly half of the revenues from channels such as DVDs and online new media.

For the management, this condition is simply insane.

Even Ronan, who was ready to make appropriate concessions at the right time, didn't know what to say when he got the news.

The news of the breakdown of the preliminary negotiations between the producers' alliance and the three major labor unions was also immediately disclosed by the media, and the contradictions between labor and management became public.

In an interview, the chairman of the three major trade unions said that if their rights and interests could not be protected, they would not rule out the possibility of a strike.

That's putting pressure on the Producers Alliance.

It seems that the contradictions between labor and management continue to widen.

It was against this backdrop that the Producers Alliance convened a meeting of its core members to discuss specific strategies.

The conference was very high-end, with only the bosses or CEOs of large and medium-sized companies attending.