For them, this movie has a great impact on the country's image, but they never admit it and never apologize.
But, precisely because of this, Lu Hao insisted on doing this.
Lu Hao’s response is actually very simple.
Culture has countries, ideology has national boundaries, but capital has no national boundaries.
There are currently five film and cultural companies with relatively large influence in the island country.
They are Toho Co., Ltd., Shochiku Co., Ltd., Toei Co., Ltd., Nikkatsu Co., Ltd., and Kadokawa Co., Ltd.
Previously, the film copyright of Lu Hao's "The Dancing Girl of Izu" was sold to the local cultural department of Izu, while the novel copyright was promoted and distributed by Kadokawa Corporation.
Since it was launched on the market, this book has been ranked among the top ten best-selling books in the island country, and the share of income it brought them last year was nearly 200 million yen.
Not to mention movies.
When "Sun Dasheng" was released, five Japanese film companies came to seek cooperation.
In the end, for the sake of balance, it was given to Shochiku Corporation.
The film brought them a share of revenue exceeding one billion yen.
It is no exaggeration to say that Lu Hao is the financial sponsor in their eyes.
Until now...
For "Twenty-Two", Lu Hao's conditions were very clear - whoever can get this movie released will get exclusive cooperation from DreamWorks in the next three years.
As for the release issue...
As for the connections with the higher-ups, you guys should manage them yourselves...
In a decadent capitalist society, money can definitely solve everything.
Lu Hao used the meat as bait and hook and threw it out.
It’s not up to them whether to bite or not.
Capital is such a thing, like a mad dog or a hungry wolf. Once it sees an opportunity to make money, it will seize it.
If you can get a 300% profit, you will dare to take the risk of being beheaded.
The three-year exclusive cooperation with DreamWorks means more than 300% profit, right?
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