Chapter 236 of the main text volume

Next chapter

,Update fast,,Read for free!

There are no such international film agents in China's domestic film industry.

Overseas distribution of films is a highly professional business activity, which requires not only sufficient knowledge of the market trends of the target film market and distribution region, but also professional legal knowledge of film transactions.

They have the ability to help producers navigate a wide range of complex international distribution contracts and agreements.

In this regard, Xiangjiang already has a relatively mature agent.

However, Hong Kong filmmakers are more focused on the Southeast Asian market, and are still exploring the film markets in Europe and North America.

This kind of agent not only represents the copyright of the film, but also helps the film to finance by obtaining the copyright of the film.

For example, if they are optimistic about a film that has not yet started filming, or a film that has already started but is short of funds, they will raise funds through guò pre-film rights to help the film be filmed.

It can be said that throughout the course of the movie, there are agents everywhere.

Like "Sunny Days", when you don't have money, you can find this kind of agency to do an evaluation, and if the agent thinks the film is valuable after evaluation, they will help raise funds.

It's just that neither Lin Zixuan nor Jiang Wen had this kind of experience in international distribution at that time, they didn't know anyone at all, and they didn't know who to look for, so they could only find their own way in China.

Wen Jun also has never released this kind of art film, and there is no way.

If it weren't for the Frenchman Jean Louis by mistake, the film would not have been completed in the later stages.

Now they have come to Venice, learned about the process of film rights trading and distribution, and met the agents, even if these people are a little ruthless, it is finally a channel for financing.

Of course, this requires that the movie you make is valuable in their eyes, otherwise they won't bother with you.

It's a very realistic group of businessmen who don't make movies, but they make money from them.

Lin Zixuan and Wen Jun discussed, instead of talking with filmmakers from various countries one by one, it is better to hand it over to the agent to deal with, this is not for ease, but the agent is more professional.

In order to get more service fees, agents will try their best to make movies at a high price.

They will set different prices according to the different market conditions of different countries, and they will also modify the content of the film according to the different laws of each country to avoid breaking the law.

For example, some European countries have regulations to protect animals, so there can be no scenes of animal killing in the movie.

Because of this, Lin Zixuan will not find an agent casually, but to find a powerful and reputable agency, otherwise the agent will give out the film copyright but will not pay the money, and he will have to go abroad to fight a lawsuit, which will be troublesome.

Italian filmmaker Marc Müller introduced them to a French film agency and negotiated the rights agency for the film in Europe and North America.

As for the copyright in Southeast Asia, Wen Jun is going to hand it over to the film company in Hong Kong to operate.

Another role of these agents is the ability to influence the awards of film festivals.

In order to make the films they represent a good price, they will make the films win awards and increase their popularity through various connections.

Those awards are more difficult to get around, and there are too many resources to be invested, and the gains outweigh the losses, but some small awards can still be operated, and each film festival will set up an affiliated unit, with various dispensable awards.

Therefore, whether it is a domestic film festival or a foreign film festival, there are all kinds of cats.

After signing the contract with the agent, Lin Zixuan didn't have to face the filmmaker, which was much easier.

Through this incident, he realized that domestic film companies must establish a mature film distribution system, so that domestic films can go to the world as much as possible, and foreign agents will not profit from it.

But now, you can only choose to work with an agent.

In the next few days, in addition to waiting for the awards, I was communicating with filmmakers from various countries and regions.

Xiangjiang and Baodao also have films participating in the film festival, and those who can come to the Venice Film Festival are basically literary films.

The tradition of the festival is to focus on the reality of films from various countries, and to encourage the shooting of films with new forms and unique techniques.

Lin Zixuan watched a few literary films, most of them were very dull, maybe very artistic, but they were not comfortable watching.

This reminded him of the domestic film market, where the fifth-generation directors are still tirelessly making literary films, hoping to come to this kind of film festival to win awards.

But literary films alone can't boost the film market, and commercial films are easier to boost the box office and attract audiences to cinemas.

He filmed "Party A and Party B" just to let domestic directors see that this kind of commercial film can make money, and if there are more directors to follow suit, the film market will slowly get better.

However, this can only drive the popularity of low-budget comedy films, and it still can't completely change the dominant shape of Chinese art films.

Another way is to make big-budget movies, also known as blockbusters.

Wang Zhongjun of Huayi Advertising is popularizing the common knowledge of Hollywood blockbusters in domestic newspapers, which is easy for him, as long as he integrates the articles in Hollywood movie magazines.

Not only does he not have to spend money, but he also gets paid for the newspaper.

Lin Zixuan wants to make a blockbuster, big investment, big stars, big directors and big scenes, as long as the box office is successful, domestic film companies will feel that this is a way out.

That's the power of example.

China's film industry will usher in an era of blockbusters.

It's just that if you want to make such a blockbuster, the first thing to solve is money, this is not a question of one million dollars, but a problem of tens of millions of dollars, Lin Zixuan didn't think of how to raise funds before, but now there is a way, that is, to find a foreign film company to pre-register overseas copyrights.

With funds, you can find big directors and big stars to join, and you can shoot blockbusters.

He already has a movie in mind, although it may be difficult to prepare, it may take a few years, but once it is successful, it may change the domestic film market.

Jiang Wen has been very relaxed in the past few days, and "Sunny Day" has been widely praised at the film festival, and the call for winning the award is very high.

It was his happiest time since making this film, and he waited for the awards to begin, and then he returned with honors.

In the hotel, he and Lin Zixuan lived in the same room, and when he pushed the door in, he saw Lin Zixuan writing something.

"What's the matter?, the new book?" Jiang Wen said curiously.

"Martial arts films, you're not interested. Lin Zixuan said casually.

"Martial arts? It's hard to say, it depends on whether the story is interesting, and those martial arts movies in Xiangjiang can't do it. Jiang Wen said as he walked over and looked at the manuscript paper in front of Lin Zixuan, ""Crouching Tiger, Hidden Dragon, this name is a bit interesting." ”

Mobile Chapter:

Latest Downloads & Reviews:

In order to facilitate the next time, you can click on the "Add to Bookmark" below to record this (the 236th chapter of the text blockbuster era) record, and you can see it next time you open the bookshelf!