Chatty Hollywood

; After entering the 21st century, movie box office revenue will account for an increasingly smaller proportion of overall movie revenue.

Peripheral income will gradually become the main source of the film's later income.

Disney, which is famous for its animated films and focuses on the youth market, is the biggest beneficiary of this change.

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

Later, there was an evil trend of making movies just to sell the surroundings.

Although this is a bit exaggerated, the importance of peripheral income is understandable.

Producers can allow well-known directors and superstars to get involved in box office and DVD-related income, but they will never allow them to get involved in other peripheral income.

Its importance is evident from this.

And the series is even more so.

Charlotte is aiming here right now

Rowling herself has the most complete system and the largest room for imagination, but it is difficult to generate much peripheral income.

After all, whether it's a wand or a Hogwarts uniform, you can't make it into a real thing just by thinking about it.

Only by imaging it can we open up peripheral markets.

There are high and low levels of imaging.

The best, of course, is to make high-quality live-action movies based on the original works, like the series in the original world of Charlotte.

This is the solution with the best promotion effect, but it is also the most expensive, time-consuming and labor-intensive solution.

The second thing is animation.

In this regard, the most skilled players are Japan.

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

With each level, the influence of the work will expand, and the range of peripheral products will also become wider and wider.

In the second decade of the 21st century, China has gradually learned this in terms of IP development. The most skillful one among them is also a certain Antarctic creature.

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

Even though almost every somewhat famous superhero has an animated version, its influence is relatively average.

However, this does not mean that the American TV animation industry is not profitable.

The fact is that every TV animation that can be broadcast on American TV stations is almost the same as other long-lived American dramas, which are broadcast for several or even more than ten seasons.

One season basically means one year.

During this period, related peripheral income will even exceed that of many live-action TV series.

For cartoons, it is naturally easier to sell peripherals than for live-action ones. For this, just look at Disney’s aggressive carnage in the movie peripheral market.

As for why the American TV animation industry has not been well-known, Charlotte thinks it may be related to the abnormality of the American film industry.

There is no way, for the sake of US dollars, Hollywood screenwriters, directors and producers have been thinking about what works are suitable to be adapted into movies almost all year round.

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

This is a very frustrating reality.

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

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

In the United States, the normal IP development process has become original work-movie-TV animation. That is, only after experiencing the addition of successful movies, in order to further develop the surrounding market, will there be TV animation.

In this regard, there are many examples

After the prequels, TV animated versions of the and series were produced;

And, after the success of the movie, a corresponding TV animation version was born...

Therefore, in North America, there are not many cultural IPs that have been adapted into TV animations without having experienced movies.

For general TV animations, except for a few truly original works, either it is difficult to film them due to technical or stylistic reasons, or it is because the film copyright has not been negotiated for the time being.

This is actually a time difference issue, not that the North American TV animation industry does not make money.

What Charlotte has to fight now is a time difference.

He knows the original direction of the world and understands how likely the series is to succeed.

If he can directly obtain the copyright of the TV animation version now, he can directly use his unique combination of magic and technology to create a high-quality TV animation at a lower cost.

And it can be released almost simultaneously with the original work.

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

After all, just like before, many peripheral products cannot be realized by Rowling's words alone.

But animation can.

What’s more, because Rowling’s original work is made into a TV animation, there is almost no need to think too much about the script because the TV animation is long enough, and it can basically follow the original work completely, without even compressing the plot like the movie version;

Even if he was a little lazy, he could just ask Rowling to be the screenwriter of the animation.

Anyway, before the movie, Rowling still had relatively free time.

After the transformation of the human skin book is completed, the specific process of animation will not involve too much energy. Charlotte only needs to pay attention to the character design and scene design.

In other words, adapting the TV animation version will not involve too much energy from Charlotte.

He can still make his own movies step by step.

During this period, the animation and peripheral income from the series will fall into his pocket.

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

Of course, before this series is made into a movie, the peripheral income may not be that huge, but on the other hand, the cost of investment is also very high!

Moreover, he can also use the character and scene design of the animated version to subtly influence the plot direction of Rowling's original work.

This is infinitely better than simply and crudely interfering directly.

Even when Warner and other big capitals get involved and film production officially begins, as long as the animated version is relatively successful, Charlotte will also have the capital to negotiate.

The most important thing is the animation version’s scene and character design plans, as well as related ratings data.

These things can save writers and directors the process of converting 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 preparatory work for the film version.

But these things will definitely be in the hands of the animation producers.

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

In contrast, getting the rights to the movie version from Rowling is a matter of course.

After all, as long as Rowling is not too stupid, she will at best sell the adaptation rights to the first film.

Even if it is in hand, it is not enough to guarantee Charlotte's interests.

Unless he takes a risk and makes that movie entirely with his own money.

But the movie version born under those circumstances is no longer a ripe thing, but a forced ripening, and there is no guarantee whether it will succeed.

Charlotte felt that it was better for her to be more conservative.

"Also, when producing TV animation, to a certain extent, the special effects and animators from Spectre Studio can practice their skills!"

Charlotte explained to Charlize,

"If I successfully win the adaptation rights from Joanna Rowling, I am going to animate this work into a 3D scene and 2D character model."lt;/pgt;