After entering the 21st century, the proportion of movie box office revenue in the overall revenue of movies will decrease more and more.

The peripheral income will gradually become the main force of the film's later income.

Disney, known for its animated films and focusing on the youth market, is the biggest beneficiary of this change.

Similarly, there is Hasbro, which owns the rights to Transformers.

Later, there was a kind of crooked trend of making movies just to sell the periphery.

Although this is a bit exaggerated, the importance of surrounding income is not to be blamed.

Producers can allow big-name directors and superstars to get their hands on box office and DVD-related revenues, but they never allow them to get their hands on other peripheral revenues.

This shows how important it is.

And the "Harry Potter" series, even more so.

Charlotte is aiming for this place now

Rowling itself has the most complete system and the largest imagination space, but it is difficult to generate too much peripheral income.

After all, neither a wand nor a Hogwarts uniform can be made into a real thing by relying on the brain.

Only by visualizing it can we open up the surrounding market.

And the image is divided into high and low.

The best, of course, is to make a high-quality live-action movie based on the original book like the "Harry Potter" series in Charlotte's original world.

This is the most effective way to promote, but it is also the most costly, time-consuming and labor-intensive.

The second thing is that it's animated.

In this regard, the most proficient player has to be the Japanese side.

The animation industry in the island country is very developed, and they have a very mature triple jump structure of original comics-TV animation-live-action movies.

With each jump, the influence of the work will expand in a circle, and the range of peripheral products will become wider and wider.

In the second decade of the 21st century, China has gradually learned this in terms of IP development. One of the most proficient players is also a certain Antarctic creature.

As for the United States, although the cultural industry is also developed, and there are long-established comic industry giants such as DC and Marvel, they attach more importance to TV animation with relatively low picture quality.

Even though almost every superhero who is a little famous has an animated version, the influence is relatively average.

However, that's not to say that the U.S. TV animation industry isn't profitable.

The truth is that almost every TV anime that can be broadcast on American television is almost the same as other long-lived American dramas, which are broadcast for several seasons or even a dozen seasons.

One season basically means one year.

During this period, the related peripheral income will even exceed many live-action TV episodes.

Cartoons, it's naturally easier to sell peripherals than live-action versions. This can be seen by Disney's big killing in the movie peripheral market.

As for why the American TV animation industry has not been renowned, Charlotte thinks that it may have something to do with the fact that the American film industry is too perverted.

No way, for the sake of dollars, Hollywood screenwriters, directors and producers have been pondering what works are suitable for film adaptation almost all year round.

After all, with the original work as the foundation, the safety factor of the adapted work is much greater than that of the pure original work.

This is a very frustrating reality.

What's even more frustrating is that because of the hyena-like perverted commercial sense of Hollywood practitioners, North American cultural works, whether comics or comics, are often directly bought by Hollywood before they have time to enter the stage of producing TV animation.

In other words, the strong film industry in the United States in the past has directly squeezed the living space of the TV animation industry.

In the U.S., the normal IP development process has become the original-movie-TV animation, which means that only after the addition of a successful movie, in order to further develop the surrounding market, will there be TV animation.

There are many examples of this

After the "Star Wars" prequel, the TV animated versions of the "Clone Wars" and "Rebels" series were produced;

And "How to Train Your Dragon" was also born after the success of the movie, and the corresponding TV animation version was born......

Therefore, in North America, there are not many cultural IPs that have been animated on TV without experiencing movies.

In general, TV animation, except for a small number of original works in the true sense, is difficult to be filmized either for technical reasons or stylistic reasons, or because the film copyright has not been negotiated for the time being.

It's really a matter of time difference, not that the North American TV animation industry isn't profitable.

Charlotte is playing now with a time difference.

Knowing where the world was going, he understands how likely the success of the Harry Potter series is.

If he can directly win the copyright of the TV animation version now, he can directly use his own unique combination of spells and technology to make a high-quality TV animation at a lower cost.

And it can be listed almost simultaneously with the original book.

This not only allows the work to be promoted quickly, but also means that before the "Harry Potter" series is filmed, the benefits of related peripheral products will be held in his hands.

After all, as I said before, Rowling's words alone can't bring a lot of peripheral products to life.

Animation, on the other hand, can.

What's more, because of Rowling's original book, made into a TV animation, there is almost no need to think too much about TV animation in terms of script, because the duration is enough, you can basically follow the original book completely, and you don't even need to compress the plot like the movie version;

Even, if he is a little lazy, he can directly let Rowling be the screenwriter of the animation.

Anyway, before the movie, Rowling's time was relatively free.

After the transformation of the leather book is completed, the specific process of animation does not involve too much energy, Charlotte only needs to focus on the character design and scene design.

In other words, the adaptation of the animated TV version of "Harry Potter" will not involve too much energy from Charlotte.

He can still make his own movies step by step.

And during this period, the animation and peripheral income of the "Harry Potter" series will fall into his pocket.

Even if Rowling becomes famous, she may propose to change the agreement and ask for a share, but Charlotte will still get most of it in the end.

Of course, before the series was filmed, the peripheral benefits may not be so huge, but on the other hand, the cost of investment is also very small!

Moreover, he can also use the character and scene design of the animated version, which in turn subtly affects the plot direction of Rowling's original book.

It's better than just brutal direct intervention.

Even, when Warner and other big capitals intervene and officially start filming, as long as the animated version is relatively successful, Charlotte will also have the capital to negotiate

The most important thing is the scene and character design plan of the animated version, as well as the related ratings data.

These things can save the screenwriters and directors the process of translating words into images, and clearly use data to determine which plots in the book are the most popular.

This will save a lot of time in the preparation of the film version.

And these things will definitely be in the hands of the animation producer.

This is Charlotte's biggest reliance on participating in the production of the live-action movie version and ensuring that she will not be kicked out.

In contrast, things like getting the rights to the movie version from Rowling are trivial.

After all, as long as Rowling wasn't too stupid, she would at most sell the rights to the adaptation of the first part.

Even if it is in its hands, it will not be enough to guarantee Charlotte's interests.

Unless he took the risk and made that movie entirely with his own money.

But the movie version of "Harry Potter and the Philosopher's Stone" born in that situation is no longer ripe, but forcibly ripened, and there is no guarantee whether it can succeed.

Charlotte thought it would be better to be conservative.

"Moreover, the production of TV animation, to a certain extent, can also allow the special effects of the Ghost Party Studio and the practice of the animation staff!"

Charlotte explained to Charlize,

"If I succeed in winning the adaptation rights from Joanna Rowling, I am going to animate this work and make it into a 3D scene and a 2D character model. ”