After Simon got dressed, he went to the restaurant downstairs. Chen Qing was already here, along with Cheng Taixi.
Seeing Simon come in, the two women greeted each other. Cheng Taixi stood up subconsciously, with a kind of restraint that he had not seen for a long time, and last night, well, he was not alone, but was dragged away by some unscrupulous girl. Bed warmer, it's a pity anyway.
Simon hugged Cheng Taixi and patted the woman's shoulder to indicate that they could sit together. He sat down casually next to her and asked with a smile, "What are you talking about?"
Chen Qing glanced at the entrance of the restaurant. No one followed her. She was a little curious about the one her boss brought back last night, but she didn't ask any more questions. She said, "We were talking about "The Spies of Life and Death"."
Simon noticed Chen Qing's gaze and did not explain.
The eldest princess is a very proud and reserved girl. She originally wanted to have breakfast with Simon, but later she heard that there were many women here, so she didn't get out of bed, planning to wait until there were fewer people here before sneaking away.
Turning slightly to let Jin Somin place his breakfast, Simon picked up the tableware and said, "Isn't it still a loss in the theater stage this time?"
Chen Qing nodded: "Based on 8 million moviegoers, the box office is expected to be 28 billion won. The share we can get is still 37%. This part of the revenue is about 10.3 billion won. In addition, according to the announcement of the Film Promotion Committee officially established in South Korea in January Through the support plan, we can get a follow-up subsidy of 10% of the production cost. The production cost of "The Spy" is 13 billion won, and the subsidy amount can be 1.3 billion won. After calculation, there is still a gap of 1.4 billion won in the theater stage. , this does not include the publicity expenditure of about 3 billion won."
Simon just listened, not disappointed.
Still under the quiet promotion of the Westeros system, South Korea officially established a special 'Korean Film Promotion Committee' in January this year, and launched a quite powerful film support plan.
To put it simply, producers can receive subsidies ranging from 10% to 50% based on different categories such as film budget size, subject type, and funding sources.
Of course, the highest 50% subsidy can only be obtained by newcomers with a budget of less than 1 billion won. Other low-cost experimental films and literary films of the same type can only get 30%, while large-budget films with a cost of more than 3 billion won can only get it. And joint venture films such as "The Spies" can only get 10% of the budget subsidy if they meet the conditions of Korean crew and Korean filming.
The initially envisioned consumption tax refund failed, but this support plan is obviously more powerful than just refunding 10% of the consumption tax. After all, the film companies controlled by the Westeros system in South Korea currently mainly produce low-cost films of less than 3 billion won.
Let's talk about "The Spies". Although it suffered a loss during the theatrical stage, with the current popularity of this movie and its subsequent release, it will be easy to recover all costs and achieve profitability.
In fact, not to mention the follow-up, if the Westeros system wants to recover the cost in the local theater stage, it is not impossible.
Negotiating a 10-point increase in the share of local theater chains will be enough.
This is not done here. The reason is that 70% of Korean theaters are currently controlled by the Westeros system, and they are still expanding their share. If "The Spy" breaks the rules and demands an increase in share, will other films follow suit and demand an increase in share? Then the Westeros system itself will be the loser, and the gain will not be worth the loss.
So of course it is best to maintain the status quo.
In addition to local theaters, first of all, overseas. With the halo of breaking the Korean movie attendance record, "The Spies" has recently been released simultaneously overseas. It has been able to sell more or less in Southeast Asia, North America and Europe, accumulating If you make more with less, you can basically achieve a break-even for the entire project.
The second is peripheral channels, which is equivalent to entering the profit cycle.
One of the key points is that South Korea does not have a strict window period system like North America. This can be imagined from the fact that Korean high-definition versions often appeared on the Internet in advance. SK's plan is that one month after the film is released, it can be quickly introduced to the video tape market, and three months later, it can be broadcast on TV.
After calculation, the income of "The Spy" in Korea from peripheral channels such as video tapes/DVDs and TV broadcasts will not be lower than the income from theaters, and the publicity and distribution costs of these channels are very low. Therefore, this movie will have a high potential in the future. Within a one-year operating cycle, at least 100% net income can be achieved.
This is the ultimate commercial potential of an annual film.
However, SK Entertainment will of course vigorously promote the gimmick that the box office of "Life and Death" is less than the investment, so as to attract more people to buy tickets, but it is a joke to say that a film that is expected to lock the box office championship for the whole year does not make money. .
What's more, the real significance of "The Spies" does not lie in the box office itself, but in activating the local Korean film market and driving more potential audiences who have no movie-going habits to enter the theater.
Having said that, this is exactly the same as the change in movie-watching habits brought to the Chinese public by a series of films that continued to create box office miracles in China after 2015.
After several consecutive super-hit movies, during the New Year period, influenced by the people around them, more and more Chinese people have begun to form the habit of going to theaters with their families to watch movies.
Actually, there are more interesting coincidences behind these two things.
For example, the film industries in China and South Korea broke out after their per capita GDP exceeded US$10,000.
. . . . . .
After the 1997 crisis in South Korea, social competition intensified and the fertility rate plummeted. At the same time, South Korean families’ investment in their children’s education also increased sharply, and the off-campus education and training industry flourished.
The South Korean government also saw the dangers and once cracked down heavily.
Unfortunately, it was only a short-term suppression and soon ended in failure. Even when the country's educational resources cannot meet the public's needs, a large number of "wild goose families" have emerged in South Korea. Simply put, Korean families send their children to study abroad from a very young age in order to receive the best quality education, while their parents work hard at home. To make money for support, parents and children can only see each other once or twice a year like wild geese.
Later, there was a TV series in South Korea called "The Penthouse". Not to mention the extremely bloody plot, the only thing in common among several families in different classes was the almost perverted pursuit of better educational resources for their children. Obsession, it doesn't matter if you kill someone or set fire to it.
That is actually an abbreviation of the actual social education situation in South Korea.