What lessons should investors learn from the 11th batch of successful IP theorists?

This golden period, which has steadily occupied a place in the total annual box office revenue for several years, has ushered in a box office failure this year. Guo Jingming, who is good at making so-called "fan movies", did not bring "Jue Ji" this time. Showing his skills at the box office, the box office only exceeded 300 million yuan a few days after its release. This is obviously not an acceptable achievement for a film that invested more than 100 million yuan. However, it was not so eye-catching at the beginning, let alone the IP "Operation Mekong" came from behind and achieved good reputation and satisfactory box office results.

. The total box office volume in the first three days of this year's eleventh slot dropped by 10% compared with last year. The cold at the box office of movies has made this slot a burial place for IP-only commentators to a certain extent.

This golden period, which has steadily occupied a place in the total annual box office revenue for several years, has ushered in a box office failure this year. Guo Jingming, who is good at making so-called "fan movies", did not bring "Jue Ji" this time. Showing his skills at the box office, the box office only exceeded 300 million yuan a few days after its release. This is obviously not an acceptable achievement for a film that invested more than 100 million yuan. However, it was not so eye-catching at the beginning, let alone the IP "Operation Mekong" came from behind and achieved good reputation and satisfactory box office results.

The hope of exceeding 60 billion yuan in box office throughout the year is completely hopeless. After all, before the end of this year, except for Director Ang Lee's "No War at Half" and Feng Xiaogang's "I am Not Pan Jinlian", there are almost no real hits that can cause a craze for national viewing.

After experiencing the baptism of bad films that have appeared in recent years, it is impossible for mainland audiences to remain in place. In fact, in the first half of this year, the box office of youth movies or "magic blockbusters" starring many young meat fell short of expectations, and there are already signs that the IP craze has begun to decline.

It is impossible to always make the audience endure stories constructed of vulgar and unrealistic plots and characters with low intelligence index. No matter how much the creator flaunts his efforts when shouting, no matter how much he resents the one who is always hacked, it cannot erase the fact that the movie is really bad. Many creators hope that movie audiences will respect their efforts. Sorry, the audience does not have this obligation. If they want the audience to respect them, they can only speak based on the quality of the work and the audience's response in the theater. This is the only criterion for movies in the era of market economy.

The decline of IP also makes it necessary for us to rethink: What lessons should movie investors learn after popular IP sites based on fan base and market popularity are no longer able to achieve the expected box office results?

First, some popular IPs naturally do not have the foundation for film and television. If they must be film and television, they must be adapted decisively. "Passing Through Your World" released on the 11th edition is to some extent such an example. This movie was shot in pieces, and several stories were hard intertwined, making the whole film very stiff. No wonder some people said they felt like MTV after watching it. The original author Zhang Jiajia's collection of novels of the same name is said to have sold dozens of copyrights. But there is a fatal problem here: these sold novels cannot be regarded as a complete story at all. At best, they are some fragmented fragments and some sickly ravings. Capital chases these popular IPs and feels that it seems that it is a huge misunderstanding that adaptations of movies can make money in theaters. Rather than being bound to such an IP that is not a complete story at all, it is more valuable to be truly original in a down-to-earth manner.

Second, many IPs may not be able to keep up with the speed of Internet cultural iteration, which is a unique phenomenon in our information age. Many times when we feel that a literary or comic work is popular, the film and television company will quickly buy the copyright and think that the adaptation will become popular. Many times, such things fail, because many works really only have "popular" value in this era. They cannot withstand the scouring of time and are quickly lost in homogeneous or better works in the rapidly changing market. Recently, the United States has created a list of writers with the most say in the film and television market. The few people on the list have not changed much in previous years. They are still popular novelists such as J.K. Rowling and Stephen King who can stand the market test and are well-known.

Third, screenwriters have seriously lost their right to speak in the production chain of China films. This is more obvious in works adapted from popular IPs. Many novelists regard their works as their "biological sons". When handing them to the producers, they often explain that they want to adapt the screenplay, rather than being willing to professional screenwriters to adapt their novels. But novels and scripts are completely different paths. Writers who are powerful in the novel market cannot mean that they have the same ability when writing scripts. In fact, we have seen that many films adapted by the author himself often fail to accurately hit the audience's psychology after being released, and the film also has obvious problems with its structure. In the reporter's view, this kind of approach by the writer is actually a reflection of a lack of professionalism. These scripts produced under the arrogance and blindness can only be said to have directly lowered the reputation of the film from the first step of film creation.

In the post-IP era, we expect this impetuous and noisy film market to calm down, rather than thinking about how much you can account for in the tens of billions of movie box office.

Editor: yvette