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Similar to Garbo is Catherine, who has won four Oscars. Hepburn, the reason why she is called a "legend" is on the one hand because of her great acting skills.

On the other hand, the "unruly" image created by the public through the media is also a reason.

Catherine. Hepburn, as a character actress, was born extremely ambivalent about the media.

On the one hand, she is hostile to journalists, giving an extremely arrogant attitude to every interview, and even disdains to watch her own work, some of which she did not even watch for the first time in her old age.

On the other hand, she is also very concerned about her various images in the media. When examining the autobiography written for her by a biographer, she carefully considers the relevant words.

According to the American actress Jane. In her autobiography, Fonda recalls that Catherine. Hepburn despised her practice of having children (Catherine never had children).

Because she believes that as a professional actress, having a child will inevitably affect her work, which is an unprofessional behavior.

This kind of psychology that seems to care very little about the image of the media can be seen in many actors in the golden age.

In the process of becoming professional stars, these stars truly become the portrayal of the media, and they enjoy this process of "apotheosis".

However, there are also some "outliers" among these stars who want to escape this system.

But in the process of escaping, the cost is also enormous.

Ingrid. Bergman was one of the most influential actresses of the 40s, and since her debut, she has been presented as a "natural beauty", and holiness and immaculate are the most common words used when describing Bergman.

She is the Norse Valkyrie in many people's minds, Valkyrie.

Radiant, dignified, and passionate.

Compared to Grace Kelly, she is simple and natural, unpretentious and vain, and more sincere.

The side face is invincible, and the beauty is extreme! The smile is real, natural and bright, and it is very infectious.

However, according to her later accounts, she admitted that she had grown disgusted with Hollywood's rigid production and censorship system in the late '40s.

By reaching out to Italian director Rossellini, she dreamed of making something different from what she had done before.

However, during the filming of the movie, she fell in love with Rossellini and became pregnant, and at this time she was not divorced.

The news of her cheating in marriage and pregnancy immediately shocked the ugly public opinion circles, and the Pope even publicly condemned Ingrid in the newspaper. Bergman.

Ugly Chinese people have asked the Swedish actress to get out of Hollywood, because her actual approach is too inconsistent with her in movies and media.

Damned by her painstaking image, Bergman left Hollywood, where she left in her prime from 1949 to 1956.

And the reason why she was able to return to the ugly country was also because she starred in "True and False Princess" won the Oscar for Best Actress.

The bell still needs to be tied to the bell, and Bergman, who was abandoned by the mass media, was invited back to the ugly country by the mass media.

Therefore, the image constructed by celebrities, especially those of the golden age, is fragile, and their fate is dictated by the mass media.

In other words, the existence of a star is a kind of "constructed individual".

Celebrities have always been mediated in people's perception, and the image of celebrities is composed of media texts - marketing, publicity, films, film reviews and reviews.

Hovering between real "people" and "stars", stars have to carefully manage their images.

Destroying this constructed image acknowledges the end of the "star" career in a certain sense.

The golden age of Hollywood lasted for more than 30 years, and in the mid-60s of the 20th century, the golden age basically ended.

Its representative event is Marilyn. Monroe's death and the fiasco of the movie "Cleopatra", the end of the golden age also meant the end of the star system and the arrival of the "New Hollywood" era.

The stars of the new Hollywood era will appear in the public eye in a completely new medium, and the image of the stars of this period is almost indistinguishable from the current mainstream stars.

It wasn't until the advent of the Internet age that the landscape of this period changed.

However, the hype is not one-sided, it must be the result of the joint efforts of the hype, celebrities and the fathers of the financiers.

The so-called gold owner fathers are actually advertisers who participate in movies or TV series.

Don't underestimate the meaning of their existence, since ancient times, it is the uncle who can make money.

In later generations, integrated marketing of film entertainment is not a new term, and the promotion of their products and brands with the help of movies has become an important channel for many enterprises to carry out marketing and publicity.

However, most companies and brands are still in the stage of placing advertisements in movie theaters, using celebrity avatars as posters, etc., but the integrated marketing of entertainment based on film and television art has been quite mature in Hollywood.

It can be said that it has already entered the industrialization of entertainment integrated marketing 2.0, or even the era of 3.0, compared with the entertainment integrated marketing that has just started in Huaxia, the gap is quite large.

Rome wasn't built in a day, and Hollywood's integrated marketing for entertainment has gone through decades of development.

As a common practice of sharing box office risk, the model of product placement in movies has a long history in Hollywood, dating back to 1927 with "Iron Wings," which concealed a chocolate commercial.

The 1951 film "African Queen", starring Katharine Hepburn and Henriford Bogart, clearly shot the trademark shot of Gordon gin, is a landmark event in the history of product placement.

With the further development of films, the influence of product placement on the majority of marketers is also increasing, and by the 70s of the 20th century, Hollywood has been trying to avoid the brand name of the product in the movie.

Later, product placement officially developed into a product provided by the manufacturer for free as a movie background prop, and the actor used the prop or was affected by the actor.

Spielberg, the figure who contributed to the development of product placement in the ugly country, published in 1982 in Spielberg's "E· In T Aliens, there is a plot where Reese's Pieces candy attracts aliens into the house.

With the popularity of the movie, Reese's Pieces candy became a children's dream candy for a while, and sales soared by 65%.

As a result, film product placement has officially become an effective marketing method.

There are also the most typical cars, the Hollywood blockbuster "007" can be described as a classic, in 1963 Aston Martin DB5 model debuted in "007 - Goldfinger", and then Aston Martin and the 007 series of movies came together.

While fans are looking forward to the next 007 movie, they are also full of curiosity about James Bang's car.

The charisma of the 007 Spy is similar to that of the Aston Martin car, which has since been considered the most famous movie car of all time.

There's even a saying that without Aston Martin, Omega and whisky without ice, Bang's charm would have been at least halved.

After that, the marketing method of car implant film began to appear in large numbers in Western classics.

The 1998 French film "Taxi Express" broke the French box office record as soon as it was released, and the film became a global hit, and it made the all-powerful symbol 407 in the film.

In the 2003 ugly country movie "Stealing the Day", the protagonist drove a shocking escape under the chase of armored vehicles and helicopters.

At the same time, it also vividly depicts the smallness, agility and precise handling.

As product placement marketing techniques become more and more mature, many companies are beginning to realize that passive film and television marketing is not enough.

Because this can only simply improve the exposure of the brand, some companies have begun to abandon the monotonous way of only showing their faces on the screen, and the active film and television marketing led by automobile manufacturers has emerged.

That is, let the car become the character in the film, and let the car be anti-customer.

Only by making it formally participate in the content of the film can the car be subtly combined with the style of the movie characters.

And this kind of marketing method brought into the movie with the main body of advertising is the ultimate "Transformers" that we are familiar with. make

As a movie with a car as the protagonist, with the active performance of the protagonist Bumblebee in "Transformers", its prototype car, the Chevrolet Camaro sports car, has also become the real "male number one" in the movie.

Throughout the decades of Hollywood's film entertainment marketing development history, as a more scientific marketing method, it has grown from a simple product placement advertisement to a professional marketing channel and industry integrating product placement marketing, joint promotion, derivative authorization development, film and television star endorsement and other marketing methods.

And what these advertisers want most is that their products are as popular as the protagonists.

Therefore, in the process of packaging and promoting the protagonists, he has never spared any effort.

What Li Yaoyang has to do now is to expose William to the public eye as much as possible, and then hype up his fame, and use the money of the fathers of the financier to make it known to everyone, and then it will be much easier to publish the book.

To be honest, the Hollywood money-making routine in later generations is unguardable, and now, the entire marketing field is like a land of women, and everyone is simply not talking.

For aspiring filmmakers, it's a question of whether to do art or business.

It's not a problem for big companies – movies have to be business, and the real question is, how do you improve certainty?

If so many investments are smashed, it would be terrible if the consequences were uncertain.

In the 20th century, Fox did not hesitate to shoot a "Cleopatra" with the ultimate effect in order to chase the trend of blockbuster productions, but the result was that the box office was not calculated accurately, and it was almost bankrupt, and its vitality was greatly damaged since then.

In 2019, Fox was finally acquired by Disney, bringing Disney's global box office to $13.15 billion that year.

If you look closely, this unprecedented result does not necessarily represent the prosperity of the whole industry, but it shows how low the risk appetite of the film industry is.

Of the 13.1 billion, 10 billion come from 7 films, from "Avengers 4" to "Star Wars 9", none of which are original, all of them are popular sequels or remakes of mature IPs like Marvel.

This is called "pre-sale movies" in the industry, which means that a part of the fan base is locked in advance, and peripheral products can also be developed.

Since the beginning of the 21st century, it is an indisputable fact that original scripts do not sell well in Hollywood.

Fox bet heavily on "Avatar", because the director is Cameron, who has filmed "Terminator" and "Titanic", and although it is a work of sentiment in genre films, it also meets the standards of Hollywood routines, giving investors some definite box office expectations.

Of course, one should not accuse Hollywood too much of being mercenary.

In normal years, if the box office of a movie does not recover most of its cost in the first week of release, the situation will be very dangerous, even if it is a "pre-sale movie", the probability of making money is only five or five.

After the arrival of the epidemic, all the data is out of order, and even if it picks up in the future, the film company will have to learn to coexist with streaming platforms such as Netflix, which is another huge uncertainty.

The routines of Hollywood blockbusters are becoming more and more rigid, not because of a lack of creativity, but because they are becoming more and more unable to make mistakes.

No one likes those routines, but it cannot be denied that they are the most effective if you want to make money.

In fact, this is not a contradiction, artists despise the corrosion of commercialization, and fans are eager to see sincere works, but if art wants to survive, it must first have a prosperous commercial foundation.

If filmmakers want to find investment, they must first let investors see that making movies can make money, and first let everyone have the habit of going into theaters.

There is a strange theory: there are not enough good movies in Huaxia, in addition to the factors that the directors mutter, it is also because Huaxia movies are not really commercial.

When you think about it, there is some truth to it.

To put it another cruelly, there are not enough routines, or I have only learned the surface, but not the essence.

You really have to learn this from the Hollywood crooks.

In terms of the creative process, or more precisely, in terms of the production process, Hollywood's system is quite complete.

All elements related to the film are modeled and classified, and everything is standardized as much as possible so that the estimation system can be established.

First of all, the audience is divided, not according to the grading guidance system, but according to the ability to spend money to buy tickets.

The most common way is to divide the age and gender of 25 years old into four groups, that is, four quadrants.

The most important of these are male audiences under the age of 25, who are the most willing to spend money to go to the theater, and they will also bring others along, and they are the main indicators of box office prediction.

Like that kind of middle-aged male audience, if it is not a child who has to watch it, he is generally too lazy to squeeze in the theater.

These people don't think Hollywood movies are good enough because they're not made for people of that age at all.

Lazy people like this are probably the target users of streaming platforms.

Hollywood screenwriters have a principle when writing scripts, if the protagonist is middle-aged, then change the age to be in their twenties as much as possible, and the audience wants to see characters of the same age as themselves.

It's the same with writing, the reader has no sense of substitution, and no matter how good the plot is, it's useless.

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