What is the significance of domestic dramas entering the Korean market? "Conveying the spiritual outlook of China people"

Today, Huace is no longer limited to simply working with actors. At the end of last year, Huace Film and Television acquired a 15% stake in South Korea's Next Entertainment World Film Company, becoming the second largest shareholder. This is also the largest investment by China capital in the South Korean film and television industry. In Zhao Yifang's view, the future development of Huace Film and Television is inseparable from three key words: channel, scale and internationalization.

Original title: General Manager of Huace Film and Television talks about capital entering South Korea .

Zhao Yifang may not be as hotly debated as Ma Yun, but the film and television dramas produced by Huace Film and Television have triggered a round of craze: "Return to 20","Little Times","Tianlong Eight Parts","How Sheng Xiao Mo (Zhong Hanliang Edition)"...

As one of the top domestic film and television production companies, Huace is the first domestic film and television company to cooperate with South Korea. In its early filming of "New Drunken Strikes Golden Branches", the "Princess Shengping" was Cai Lin, and the" Duan Yu" in" Tianlong Eight Parts" launched by Huace last year was Korean star Jin Qifan. Today, Huace is no longer limited to simply working with actors. At the end of last year, Huace Film and Television acquired a 15% stake in South Korea's Next Entertainment World Film Company, becoming the second largest shareholder. This is also the largest investment by China capital in the South Korean film and television industry. Today,"How Sheng Xiao Mo" produced by Huace's Kedon Media has also entered South Korea's MBC.

Although she is 55 years old, Zhao Yifang said frankly that she is still in the entrepreneurial stage. What makes this queen of the film and television industry still full of entrepreneurial passion? What is Huace's future? Yesterday, the reporter interviewed Zhao Yifang, director and general manager of Huace Film and Television, who is coming to Chengdu to participate in the "2015 World Knowledge Forum·China-South Korea Film and Television Culture Industry Forum" held on May 20. In her view, the future development of Huace Film and Television is inseparable from three key words: channel, scale and internationalization.

What is the significance of domestic dramas entering the Korean market?

"Transferring the spirit of China to South Korea"

Reporter: Since last year, Huace has had many investment and cooperation cases, especially cooperation with Baidu and Xiaomi. What transformative impact will this bring to Huace?

Zhao Yifang: The post-80s and post-90s generation are the backbone of netizens and the core audience for future film and television dramas. Xiaomi is the most successful team in the Internet of traditional enterprises, which is of great reference significance to Huace. In the future, Huace's films and online content will be firmly focused on young users, and will select those with high commercialization and well-produced types., short cycle, and suitable for game development, music digitization and physical derivatives theme operations to meet the needs of young Internet users. Through cooperation with Xiaomi, Huace can have an interactive platform at the fan economic level and use Xiaomi's promotional resources to promote content. The ultimate goal of the cooperation between the two parties is to transform the current "selling" method with traditional TV stations and explore "content sharing". Business mechanism to maximize the value of content.

Baidu is a big platform, including search, video, music, literature, post bars, games... This platform presents content + services, which is very valuable to us. In the future, we will provide content with service value, entertainment value, service value, and life value.

Reporter: It is very difficult for China's fashion dramas to enter the South Korean market, but this time "How Sheng Xiao Mo" has been launched on South Korea's MBC TV. What do you think is the core competitiveness of domestic dramas to be exported abroad in the future?

Zhao Yifang: Content is still the core competitiveness. The reason why "Why Sheng Xiao Mo" entered the Korean market is the same as its popularity in China. The most important thing is that this drama is well-produced, novel in perspective, unique in narrative, and beautiful in story. His emotional core of "unwilling to make do with" and his love view of "holding the hand and growing old together with his son" have been recognized by Korean audiences. We hope that through the spread of film and television dramas overseas, we will convey China's core values and the spiritual outlook of contemporary Chinese people to all parts of the world, including South Korea. In the past ten years, Korean idol dramas have successively entered China, allowing audiences to get to know Bae Yong Joon and Song Seung Heon. I believe that in South Korea in the future, audiences will also know more handsome and warm men like Chung Hanliang.

Why choose South Korea as the first stop for internationalization?

"Korean films have defeated Hollywood in China."

Reporter: Last year, Huace's stake in South Korea's NEW company attracted a lot of attention. What is the significance of this overseas investment to Huace Film and Television?

Zhao Yifang: NEW is a professional distribution company of films, music, performances and related affiliated copyright products. It has become one of South Korea's major and most successful content distributors. In 2013, it overtook CJ Entertainment to become South Korea's local box office with a 29.4% share. The company with the largest share of box office. This investment in NEW is not just a simple capital investment. First of all, we are both an equity investment in NEW Company and an investment in a package of film projects. Secondly, we will be deeply involved in the production and marketing of films. Especially for China-South Korea co-productions in the China market, China Strategy Council has greater voice and participation. In line with a cooperative attitude of win-win development with Korean film and television companies, we complement and improve content production, and further improve our production concept in the direction of industrialization, internationalization and specialization. From a strategic perspective, the company has always adhered to the development strategy of allowing domestic dramas to "go global", and at the same time established good cooperative relationships with outstanding teams in South Korea, Europe and the United States. Cooperation with first-tier Korean film and television companies such as NEW will help the company accelerate its overseas strategic layout and strengthen its film business. At the same time, it will further learn from the successful development experience of foreign film and television industries, integrate international resources, improve the company's core competitiveness internationally, and quickly deploy the entire film and television entertainment industry chain to create a global comprehensive entertainment media group.

Reporter: Why did the company choose South Korea as the first stop for its internationalization strategy?

Zhao Yifang: Korean films are world-renowned for their unique romance, aesthetics and violent aesthetics. China-South Korea co-productions can not only carry forward the unique charm of Korean films but also adapt to the needs of China audiences just right. Compared with Hollywood, South Korea is the one that integrates best with China's film and television culture. After all, there are some cultural differences between China and the West. However, Asian cultures can absorb nutrients from each other and complement each other and win each other. The purely selling and buying model of Chinese and Korean film and television dramas has long been outdated. Now, both parties should jointly create excellent content products to maximize their value. China and South Korea should use higher production standards to jointly create the story of Asian concepts so that it has world-significant communication value. For example, we can co-produce some major historical dramas. The historical stories and characters in the dramas are familiar to both parties. This is why "Wei Zifu" has been well received abroad. However,"Da Jang Geum", which China people still cherish, will be of higher value if it can be a story more closely related to China's history.

Reporter: Compared with South Korean music, Korean dramas and Korean variety shows, South Korean films do not seem to show off. Why did they choose to cooperate with South Korean film companies?

Zhao Yifang: In recent years, South Korea's cultural and entertainment industry has developed rapidly. The export volume of content products, mainly movies, TV series, music, games and other products to neighboring countries has been increasing. Films and TV series products with Korean culture as the theme have been widely praised by domestic and foreign audiences. Korean dramas such as "You from the Stars" and "The Successors" have a large number of fans in China. From investment, production to distribution, release to subsequent additional copyright and peripheral product development, South Korea's film and television industry has formed a complete industrial chain. South Korean films have defeated Hollywood blockbusters in their home country, accounting for more than half of the home movie box office., the film and television industry has become an important part of South Korea's national economy. In 2012, sales of the Korean film industry reached 4.5279 billion won, accounting for 0.36% of South Korea's GDP, while the compound annual growth rate of the Korean film industry in the past five years reached 11.2%.

What are the prospects for co-productions between China and South Korea?

Reporter

: How do you see the future trend of China-South Korea co-production films?

Zhao Yifang: I think the next few years will be better and better. Last year, representatives from the State Administration of Press, Publication, Radio, Film and Television of China and the Ministry of Culture, Sports and Tourism of South Korea formally signed the "China-South Korea Film Co-production Agreement" at the Blue House, the official residence of the South Korean presidential palace. This also means that films filmed jointly by China and South Korea will enjoy domestic film treatment in the China market and will no longer be subject to imported film conditions. According to the agreement, films produced jointly by South Korea and China can be classified as "domestic films" in China if they are recognized as "Sino-foreign cooperation in film production," and relevant films will not be restricted by the import film quota system. In the future, I feel that the number of co-productions between China and South Korea will increase. As the two sides get closer and have a deeper understanding of each other's cultural systems, the quality of content creation will also accelerate.

Reporter: How do you view the running-in problem in China-South Korea co-operation?

Zhao Yifang: Team cultural integration and trust are the primary issues for everyone's cooperation. The way China's market operates is still different from that of South Korea, and financial operation difficulties and cultural differences may be faced. These issues require both parties to adapt to them.

Editor: vian