Please give me a monthly ticket and a recommendation ticket!

In this regard, Twentieth Century Fox is somewhat dissatisfied, but has not clearly expressed it to Murphy. They are actually very clear that Murphy's videos may not be suitable for the tastes of audiences across the Pacific, but unlike Murphy, Twentieth Century Fox is more patient, knowing that the market needs to be cultivated, and has not given up on previous efforts, and is still pushing the film to pass the review of the big scissors.

Moreover, the cooperation between 20th Century Fox and Wanda is not just about movies. It is impossible for Murphy to affect the strategic planning between the two major groups just because of Murphy.

After the short Christmas holiday, Murphy's crew gathered again to continue the remaining filming of "City of Chaos". Most of the film's shots have been shot, and the rest are some relatively scattered scenes.

After the New Year in 2011, the shooting has completely entered the final stage.

While Murphy was busy shooting, he also told Gal Gadot to pay attention to financial issues. A year has just passed, and it is time for the dividend payments between Murphy and many companies to settle.

From the earliest Miramax and Fox searchlights to the Warner Bros. and Twentieth Century Fox behind, Murphy has relevant director dividends to get. Even those films that did not sign a share agreement have a small part of the dividends stipulated by the director's union.

Today is different from the past. Murphy does not need to ask for it frequently. The relevant accounts were quickly sent from several companies to Stanton Studio. After the accountant review, Gal Gadot took it to the set of Venice and let Murphy take a look.

Although I only browsed it roughly, Murphy also saw some changes. The biggest one was that the dividend income of DVD was greatly reduced, and the related income on the Internet had increased significantly.

As a Hollywood director, Murphy certainly understands the changes in the film market.

Since the beginning of the new century, DVDs have been one of the main revenues of major Hollywood production and distribution companies. It is not even an exaggeration to say that Hollywood is relying on DVDs to make money. Some popular movies such as Spider-Man and Lord of the Rings Trilogy have sold more than $100 million in North America alone. In those films that can enter the top ten annual box office rankings, except for very few examples, most of the final DVDs can be sold for about $100 million.

The production cost of DVD is much lower than the once popular videotape, and will not exceed one to three percent of the wholesale price sold by the publisher to sellers. Even if marketing and other costs are included, the profit margin is still terrifying.

If a single movie is a popular movie, the studio can earn $5 million to $8 million from a single leaser. This is only the rental part, and the sales part is more than this. In other words, a popular movie Hollywood can obtain tens of millions or even hundreds of millions of dollars in revenue from DVDs, and this income is almost all net profit.

This is why Hollywood is making money on DVD.

However, everyone who has paid attention to the relevant data is very clear that the heyday of DVD is about to go away.

Although Hollywood's DVD industry still maintains a scale of nearly $2 billion, it is not difficult for people with long-term vision to see that this glory cannot last for too long, and will even decline sharply in the next three to four years.

Why does this happen? Is the audience tired of Hollywood commercial blockbusters?

Of course, the answer is no. The audience of Hollywood movies has not shrunk, but with the rise of Internet video websites, those teenagers who constitute the mainstream of the film market have turned their attention to online on-demand and online downloads.

The rise of movies on the Internet has directly reduced the scale of Hollywood's DVD industry by two-thirds.

Hollywood is never short of elites, and many people have discovered this.

On the one hand, producers have also begun to find ways to reduce costs to ensure that each disc can create more profits; on the other hand, while taking defensive measures, major studios are also preparing for the day when the movie completely disappears from the silver disc.

The future offline distribution of movies will inevitably rely more on the on-demand on-demand services of the Internet or cable satellite TV companies. Data from media survey companies show that the current market size has reached US$1.2 billion, and it has surged by nearly 20% last year alone.

Many Hollywood film companies are planning ahead and plan to no longer wait for the movie's DVD to be released a few weeks before it is released online or paid TV versions, but instead launch them simultaneously.

In this way, it can attract young people who don’t want to buy DVDs.

Another brewing shift is to allow viewers to download online versions after the movie is released, and this can also be an additional fee for viewing HD versions from customers before the DVD is released.

Stanton Studio has copyrighted videos and is also focusing on developing related businesses in the Internet. Murphy also signed some related agreements with Netflix.

"I heard that Netflix people have looked for you?"

On the set, a temporary re-filmed scene by James Franco had just been completed. While he was resting, he found Murphy and talked about this topic, "Are you still going to invite you to direct a TV series?"

Murphy shook his head, "I declined."

To be precise, the price offered by Netflix is ​​too low. If the price is right, Murphy can also consider collaborating with Netflix for a TV series.

However, Netflix is ​​not the future Netflix, and it cannot afford his high pay.

"Actually, I think you can make the specific experience of my character into a TV series."

After Christmas, James Franco saw more settings for his role, as well as some related plots in the second part, "can be used as an effective addition to the movie, just like what Marvel Studios is doing."

Murphy picked up the coffee and took a sip, "Let's talk about it later."

James Franco leaned against the chair and said, "You guys always have strange ideas."

"Where is strange?" Murphy was too lazy to pay attention to him.

"The dark side of the psychology is too heavy!" James Franko said deliberately, "Everything comes to mind is dark things."

Murphy spread his hands and shrugged.

"For example, this video, a protagonist who can be clearly set as a glorious one." James Franco said very directly, "You just want to become a psychopath, a very dark character."

Murphy asked back, “Isn’t this good?”

Before James Franco could answer, Murphy continued, "Most Hollywood commercials' protagonists give people the most intuitive feeling, they are the perfect embodiment of idealism. But my character does not need these. He has to have more human characteristics, rather than a saint. I don't need him to have so many idealized rules and regulations, so when dealing with things, it will appear more humane and realistic, and there are also some political components in it. This is also the role I want to see."

Murphy thought for a moment and said, "As soon as Chris Dane appears, it will make him messy and disorderly around him. It is difficult to immediately distinguish right from wrong with a clear moral concept. This film is not particularly obvious now. The next film you as the protagonist, one of its major themes is to some extent from realism, and it is clear that no one can be separated from the law, even as a 'obligated policeman'."

James Franko knew Murphy was talking about the sequel to "City of Chaos" and asked, "I am the protagonist? Isn't the protagonist Chris Dane?"

"He is just the nominal protagonist." Murphy said without any concealment, "Your magician is the real protagonist."

"I saw what you gave me." James Franco raised his chin. "The character's ideological logic is really interesting."

This role requires James Franco to pay a lot, so Murphy specifically asked him to know some of the character's settings so that he could prepare in advance. Now that James Franco has talked about it, he also wants to discuss this role with him.

"It's not just a magician, everyone has their own logic." Murphy pointed to James Franco, and pointed to himself. "Including you and me, many times everyone thinks that his logic is correct. The world is operating according to the logic he believes. If this world is not like this, we will think that this is just a superficial phenomenon. The real deep logic must be the logic that we master. To prove this, we just need to 'push' others slightly', and these people will fall into their own logic."

James Franco thought, "If a beauty believes that men are not good things, and men are just interested in her body and will not love her at all. Then, she will use her body to seduce men, and she will find that she just needs to push the men gently, and these men will become perverts."

Murphy laughed and said in his words, "If a rich man believed that everyone was greedy and that money could make the undead drive. Then he would use his money to push countless people gently, and these people would fall into his control.

"Where is the magician?" James Franco asked again.

"The magician wants to break through everyone's bottom line," Murphy said seriously. "He thinks everyone is evil."

Murphy spread his hands, "So, in the setting I gave you, the weapon of the magician's 'push' is a fear in people's hearts. He believes that everyone loves himself and his relatives. As long as you threaten their lives, everyone will give up their original bottom line and become a demon."

James Franco nodded slightly, "Once a person breaks through the bottom line, there will be no bottom line."

"It's almost the same."

After looking at the watch, Murphy stood up and said, "I'll go shoot the last scene."
Chapter completed!