A cinema in South Korea.

Source Code 2 premiere.

The main creators Guo Rong, Yoo Qianqian, Ma Dong-seok, and a group of South Korean voice actors all gathered here.

In addition to the actors and voice actors, Rain, the singer of the South Korean version of the theme song, also came to sing.

These people constitute the main creative team of the South Korean version of Source Code 2.

In addition to the main creators, there were also a lot of guests.

For example, Jun Ji-hyun and others who come to South Korea every time they come to South Korea.

There are also domestic actors Fan Binbin, Zhu Yilong and Tang Wei, who made a comeback with "Late Autumn".

And when the movie starts, it doesn't take long for the audience to have the illusion that this is a South Korean movie.

Because the film is not the original version, but the Korean dubbed version.

The voices of Guorong, Liu Qianqian and some of the main actors in the film have been carefully crafted.

The dubbing of each character has its own accent characteristics, which is very down-to-earth, without any sense of separation from the ordinary "dubbed film".

In addition to the dubbing, the subtitles, theme songs, and other details are all South Koreanized, and there are no mistakes in ordinary movies.

Even in the movie, South Korean actor Ma Dong-seok has a total of about 40 seconds of scenes.

All of them add up, and it makes the South Korean audience feel that this movie really treats us South Korean fans with care!

In fact, Source Code 2 does not need to use these "localization" methods.

With the popularity of Guorong, Lu Ping'an and "Source Code 1" itself, "Source Code 2" can still win a good box office in South Korea.

It is also for this reason that doing so will always make people feel a little "licking".

But in fact, Hu Qingquan quite agrees with this.

Because this is the next strategy of the stars.

That is, it is a global strategy that is further sinking and further refined than the previous global strategy.

And this approach is actually learned from Hollywood.

In the past, Xingchen's films basically cooperated with local distributors, and the distribution rights were sold to each other, and Xingchen mainly relied on the resources of local distributors to do work on matters such as publicity and distribution.

For example, "Source Code 1" at the beginning.

Later, Lu Ping'an opened up the Hollywood line, so "Kung Fu Panda 1/2" could go global through Hollywood's publicity and distribution channels, and Xingchen people also learned more Hollywood global market management methods during this period.

So now there is a deepening strategy for Source Code 2.

The biggest difference between this and the previous one is that this time, Xingchen, like major Hollywood companies, has set up branches around the world to do localized publicity and distribution.

Part of the profits will be retained in the branch to support the global content and localized distribution and publicity of Xingchen Films, and strive to further increase profits in the future.

Among them, "localization" is quite important.

For example, the later "Frozen", which had a 25-language version and several local language versions of "Let It Go", is a testament to Hollywood's work in localizing films.

For domestic films, this point is actually very inadequate.

For example, the box office of "The Wandering Earth 2" in Xiangjiang was very poor, and some people said that one of the reasons was that the Xiangjiang market was small.

In fact, in 2021, Hong Kong is the fifteenth largest film market in the world.

And Hollywood has never felt that the market can be given up if there is little meat, and the localization of the localization, because cultivating the market is also a long-term job.

So in contrast, most domestic films are not prepared to go out.

Many filmmakers also take it for granted, or try to save trouble too much, buy the copyright, just participate in the modification, and don't care about anything else, without the idea of "second creation".

For example, many domestic filmmakers don't even know that most foreign cinema movies have no subtitles.

In some places, even when you see the subtitles of the movie, you have no desire to watch the movie, such as Brazil, people don't care whether the subtitles are prepared for the hearing impaired or not, most people will leave when they see the subtitles, and the movie is not dubbed in English or Portuguese, and many people will leave.

In contrast, the phenomenon that most people in China like to listen to the original sound, don't like the "translated version" very much, and the phenomenon of "standard subtitles" is actually a bit strange for many foreigners.

However, the good thing about domestic movies is that there is a big domestic market, and just running a domestic market is enough to make a lot of money.

But the stars certainly don't stop there.

This time, Xingchen has spent many years to understand in detail the various viewing preferences of various markets around the world, and has made a huge number of adjustments to "Source Code 2" this time.

Overall, this version of Source Code 2 will have 18 dubbed versions, as well as a theme song in 5 languages.

Each dubbed version will be made in the same way as the current South Korean version, and try to avoid the sense of separation like the domestic "dubbed film".

According to expectations, in this way, "Source Code 2" can basically adapt to the vast majority of the world's film market.

The next step is to see how the market reacts.

It's February 15th.

Lu Ping'an, who was far away in Laomei, received a call from Hu Qingquan and learned about the record of "Source Code 2" in South Korea.

Three days later, the latest data released by the South Korean Film Promotion Committee, "Source Code 2: Edge of Tomorrow": On February 12, 276,166 viewers were mobilized nationwide in South Korea, and 774,064 moviegoers were recorded in just two days of screening, which is about 30 million in two days, which is an excellent result.

The movie also took advantage of this to defeat "North Korean Detective", which has won the box office championship for two consecutive weeks, and the fierce "Late Autumn", and won the single-day box office championship for three consecutive days.

"This should be our best result in South Korea."

Hu Qingquan was very happy on the phone.

In addition to the blessings of elements such as national glory and stars, "localization" obviously plays a great role.

The enthusiasm of the audience was very high.

The praise of various media is also like not asking for money.

It's not in vain to spend a small two million dollars to "localize".

With a good start, Hu Qingquan is of course refreshed.

Lu Ping'an is also very happy.

Not only for the box office, but also for the rest of the escaping proceeds.

For example, Hu Qingquan said that Liu Qianqian has now become an Asian superstar recognized by the people of South Korea.

This is not a matter of insincerity, but is based on various data such as local polls and variety announcements in South Korea.

This means that in the future, Liu Qianqian will also have a good solo box office appeal in South Korea, and she does not need to rely on other superstars such as Guorong.

This also means a lot to the stars.

Now for Lu Ping'an.

There is no shortage of movies.

What's missing is a superstar.

Guorong is old after all.

Cheng Long and the others are not his people.

So the more new generations like Liu Qianqian who can become superstars, the better.

It's just that after being milked for so long now, Liu Qianqian finally relied on a contrasting role to achieve decent popularity.

This also made Lu Ping'an feel a little slow.

It's not a big problem, though.

Anyway, he has no shortage of movies.

Taking advantage of this good start to globalization, Lu Ping'an feels that if one can be milked, the second one can be milked. (End of chapter)