"Subsidies are certainly a good thing, but good steel must be used where it is needed most. What projects, what types of projects, and what standards should be used for subsidies are all issues worth discussing. We must do our utmost to prevent bad money from driving out good money. We must not be like some companies that can make tens of millions of yuan from a single animation as if it were just picking up money."
A middle-aged man who looked to be in his fifties, with completely white hair and an artistic air, said with a smile, with a hint of sarcasm in his voice.
This is Chen Jun, chairman of Dadi Film and Television.
Dadi Film and Television is considered one of the earliest film companies in China. In a sense, it is a typical representative of foreign capital.
Chen Jun is a PhD student who studied in the United States. Twenty years ago, he was an absolute highly educated elite. When Dadi Film and Television first started to develop, it obtained venture capital from an international investment group. After that, several rounds of financing, including listing, were all on the U.S. stock market.
Dadi Film and Television's main profit point is also in introducing films.
Super IPs in the North American market, such as the "Galaxy" series, the "King of Racing" series, and the "RoboCop" series, are all blockbusters that have gained both fame and fortune. They have swept tens of billions of box office revenue in the domestic market and are also memories of a generation.
Dadi Film and Television can be said to be the leader of the first generation of film companies and the first domestic film company to be listed on the US stock market.
However, with the rise of domestic films, Dadi Film and Television's limelight has gradually faded, but even so, a lean camel is still bigger than a horse.
When Chen Jun spoke at this moment, his eyes were fixed on the man sitting opposite him.
The boss of CTS, Tsai Aiguo.
…
CTS, whose full name is China Film and Television Media Group, can be seen from the name alone that it is a film and television company with deep state-owned enterprise bloodlines. It was a pure state-owned enterprise in the beginning. Later, after the public-private partnership, it introduced foreign capital and private capital. The current equity relationship is quite complicated, but the majority is still a state-owned enterprise with a deep government background and upper-level connections.
Chen Jun fired his first shot at Cai Aiguo.
The cartoon he just mentioned, which cost tens of millions of dollars but was rubbish, was a government-enterprise cooperation project produced by CTS. It has been a stain and a joke that can never be erased for many years.
Probably because he had been ridiculed so many times, Cai Aiguo had already turned a deaf ear to these words. He glanced around with a forced smile, snorted coldly, but said nothing.
With a state-owned enterprise background, such subsidies are naturally their priority.
Every year, whether it is the higher-level authorities, propaganda departments, or propaganda departments of local governments at all levels, they will produce some main-theme works with strong red connotations. In these projects, CTS has always been the biggest winner.
Applying for national project subsidies in the name of the overall political situation, how dare the film association refuse to approve it?
Do you still want to hang around?
He was too lazy to talk nonsense at the moment. Making a fortune quietly was the only way. Since he had gotten the advantage, he should not act like a good boy. Otherwise, it would be bad to cause public ridicule.
…
"I agree with Mr. Chen. This standard, combined with what Mr. Lu said this morning, must be strict and transparent. Otherwise, it won't be convincing enough. However, I'd like to point out that the trend of homogenization of subject matter and creativity in our current film and television industry is becoming increasingly serious. This is not a good phenomenon. I hope everyone can consider whether the national project support funds should be appropriately tilted towards niche fields."
The person who spoke now was a woman. At first glance, it was hard to tell her age. She was well-maintained. If passers-by walked on the street, they would definitely tell she was no more than 30 years old.
But those who are familiar with her know that this aunt, who is almost fifty years old, is also a veteran in the film and television industry, the famous Iron Lady of the Movies, Xia Lei.
Xia Lei is a writer who specializes in writing classic stories on youth literature and love themes. They can be said to be the memories of a generation, especially the generation twenty years ago.
The cumulative sales of her works have reached hundreds of millions of copies, a number that has not been surpassed to this day.
With various adaptations of her own works, Hongzhuang Film and Television, founded by Xia Lei, is definitely a rare flower in the film and television industry. Although its development speed is not that fast, excellent classic works are emerging in an endless stream, and it is even more outstanding in the field of romantic movies.
In addition, Hongzhuang Film and Television's other business areas are mainly concentrated in the field of animation. Currently, the most influential two-dimensional website in China, [嘤嘤嘤], is their base.
Hongzhuang Film and Television itself is not listed, but [嘤嘤嘤] was listed six years ago. Its current market value is around 30 billion. In this niche segment, it is unmatched, and its influence among young people is unmatched.
Compared to the mainstream film and television industry, animation naturally belongs to a niche field.
However, in recent years, it has shown signs of thriving growth. Hongzhuang Film and Television has produced several classic anime-adapted films in succession, which have achieved impressive box office results, making people jealous and indirectly driving other practitioners to enter the industry.
…
"The issues in the mass market haven't been resolved yet, so how can we care about the niche market? Mr. Xia, if we talk about niche, then isn't the art film market even more niche? Shouldn't it be subsidized? I think excellent works should be tested by the market, whether they are niche or mass. Given the current situation of the domestic film market, I am more interested in the incremental market abroad. At the same time, compared to the national project support subsidies, I am more interested in DreamWorks' overseas strategy."
Jiang Qianfan spoke.
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