Ye Ning: If we don't improve content productivity, film companies will be really dangerous!

For film companies, content is becoming more and more important, and good stories are becoming more and more important. Both good movie stories and good online dramas need good content. The ability to create content or gain insight into good content is one of the core capabilities of the company. Without this ability, the company's risks will be very high.

Original title: If we don't improve content productivity, film companies will be really dangerous!

In a business model, one of the most important elements is key resource capabilities. Only by having them can we be non-replicable and remain invincible in the competitive landscape.

How to seize the key resource capabilities of the film industry? How to face the many challenges in the future? Ye Ning has unique opinions on this.

On March 1, 2016, Ye Ning officially assumed the position of CEO of Huayi Brothers Pictures. Huayi Brothers said,"After joining Huayi Brothers, Ye Ning will be fully responsible for the management and operation of the company's film and cinema-related businesses, helping the content advantages of Huayi Brothers 'films smoothly run through the entire industry chain."

According to public information, Ye Ning joined Wanda Group in 2002, became the general manager of Wanda Theater Line in 2008, served as the vice president of Wanda Cultural Group in 2013, and served as the chairman of Wuzhou Film Distribution Co., Ltd. in 2014. During his tenure, Wanda Theater Company went public, ranking first in the total box office for two consecutive years.

China's film market is becoming the only engine in the world

. In recent years, China's film industry has developed rapidly, with box office records hitting record highs.

"In 2015, the box office of movies in China reached 44.069 billion yuan, an increase of 48.7% over the previous year, accounting for 17.8% of the global total box office, ranking second in the world. The national box office of movies in the first quarter of this year was 14.493 billion yuan, a 50% increase year-on-year." At a recent forum, Zhang Wei, secretary-general of the China Film Critics Society, used a series of figures to show the "hot" status of China films.

Some experts boldly predict that if the growth rate in 2016 and 2017 reaches more than 30%, and the growth rate of the box office in North America is relatively stable, two years later, the total box office of China films will exceed 74 billion yuan, which is expected to be the largest in the world. North American box office."

Ye Ning also said that China's film market may become the engine of the global film market, or even a single engine. He believes that there are two forces promoting the rapid development of China's film market:

More and more audiences are entering theaters or accessing excellent films through other channels. Fourth-and fourth-tier cities have become the main ticket holders in important schedules or phenomenal films, with some contributing more than 40%.

As for the release of the film, if it does not reach the fourth and fifth tier cities, and the young people in small towns in the fourth and fifth tier cities are not allowed to vote for the film, your film will never become a phenomenal film.

2. The per capita frequency of movie viewing

comes from the increase in per capita frequency of movie viewing, which has become an important factor supporting China's film market to get closer to the world's largest market.

If China's movie audiences support the entire China film industry, then the interpretation of the audience is very important. Their preferences, structures, and what stories they like are all issues we need to think about when making production. This is the market.

The next five years will be a very important window period for China films. In the next five years, whether for a company or an practitioner, you must accumulate enough energy to gain a foothold in the market. Because these five years are a window period, we also have special environment, special protection, etc. But five years later, you will be faced with whether you have the ability to challenge your audience. -- Ye Ning

's core competencies: ability to create content

In the past year, my country produced 686 feature films and 51 animated films. The "2015 Domestic Film Distribution Market White Paper" shows that in 2015, the number of films with box office of more than 500 million yuan accounted for 4%, and these blockbusters contributed 56% of the box office of the year; while the number of films with box office of less than 100 million yuan exceeded the total number of films throughout the year. Eighty percent of the total number of films in the year, its box office share was only 11%.

In this regard, the "2016 China Film Online Ticketing Market Research Report" pointed out that the number of films available per unit of movie viewers in China has basically declined year by year. The report believes that while there is still room for growth in movie-viewing demand, China needs more high-quality films.

Ye Ning said that when they were in theaters before, they would regard members who watched movies 12 times a year as hard-core members. They also knew that if such members left the movie, their lives would lose their luster: they would watch movies when they were in love, and even more when they were in love; they would watch movies when they were not in love; they would watch movies when they were bored. So movies became a very important part of their lives.

From the year before last to this year, in every schedule, only China films have become hot spots in the market or society. Why?

Because it has stories related to us, we have stories in a common context, and many stories can be combined with our lives and economy, arousing emotional resonance and social resonance. So this is a golden period for the development of film content in China.

Whether it is a good movie story or a good online drama, TV, etc., good content is becoming more and more important, and the ability to create content has become the company's core manufacturing capabilities. If the company does not create good content or participates in insight into good content, the risks for your company will be very high. -- Yening

's terminal industry is about to usher in

a surge in the box office of integrated films in China, which is also due to the increasing number of screen blocks in theaters. At present, the number of cinemas in China exceeds 6200, the number of screens is close to 31,000, and the number of people watching movies exceeds 1.1 billion...

This set of data is attributed to the fact that the film industry has entered a stage of rapid development, and the box office has finally reached a breakthrough of 40 billion yuan. Among them, 8035 new screens were added in 2015!

In 2003, when the industrialization of China films was just beginning, there were only more than a thousand theaters, mainly concentrated in large cities, with less than 2000 screens.

So, does the surge in the number of screens mean that the quality of screens also meets the needs of the market?

Ye Ning said that in fact, on the screen, there are still not many effective screens and there are not many high-quality screens. China's film terminal market is too fragmented and must be given priority to quality. The terminal industry is about to usher in integration, and the current cinema industry around the world is ushering in major integration.

For a cinema practitioner, he must have insight into the audience and serve the audience well. The sound effects and pictures must be of high quality. On the big screen and in the black box, everyone should enjoy pleasures that cannot be enjoyed in other media channels, including film artistic restoration and story restoration.

Are you an integrator or an integrated person? What is your perspective and status? Look at your capabilities, management capabilities, and brand capabilities. Therefore, in the spontaneous screening link in this area, the terminal or terminal screening link will become very important. It doesn't have to be large, but the quality must be good enough. -- Ye Ning

rejected more than a hundred bad films

. Nowadays, it has become an undeniable trend that China movie stories are getting stronger and stronger. Audiences like China movies and watch excellent China movie stories, which has gradually become an important part of their lives. They are willing to discuss topics and even become communicators and marketers.

For all film companies, whether they are making online dramas or traditional big movies, they are faced with a very important problem: to develop the logic of movies.

What is the logic of a good movie? Ye Ning said: "Good movies do not refer to artistic judgment, but from the perspective of mainstream China films and the perspective of China film audiences, why do they like such films and interpret the code behind them clearly."

I don't mean the theory of big data alone. There must be logic and insight behind this. But the most difficult thing is that you will find that even if you know this truth, making a good movie requires working with a group of talents, talented directors and talented screenwriters. How to balance the ability between market and artistic creation in the process requires the company and producers to balance and gain insight, and learn to choose.

As a producer, the ability I am most proud of is my ability to reject bad movies. Last year, more than a hundred bad films were rejected. It cannot be said that they were unsuccessful films. Every movie that comes out will be paid for, but it may not be made in accordance with market rules and audience preferences. Making movies is a huge risky industry, 90% are failures, 40% are average, 50% are failures, and 10% are things you can win, so I want to turn my team's efforts into 10% people. Therefore, the products of China films have slowly become products. This is an interesting trend in the industrialization of China films. -- Ye Ning

's future development direction:

In recent years, the derivatives industry has hit record highs with the box office of China films. However, behind the box office boom, the structure of China's film market is not yet perfect, and the problem of relatively single market composition has also been exposed-more than 80% of China's film revenue depends on box office revenue, while the mature Hollywood market only accounts for about 30%, and the remaining 70% of the revenue comes from the film derivatives industry.

In the United States, derivatives revenue can account for 70% of total movie revenue, far more than twice the box office of movies. In China, the derivative revenue of many movies is basically zero.

In Ye Ning's view, although the development of the film derivatives market is still relatively weak in China, as a sign of the maturity of the film industry system, derivatives must be an important development direction in the future.

He said that although China's film market is still very young, it has a bright future. Film audiences from China are increasingly in need of movies as a part of their lives. Maybe it is entertainment, maybe it is happiness, maybe it is spiritual communication, etc. Movies have become a very important choice in life. Just like drinking tea and coffee, I like good tea and coffee, and I also like good movies.

From the perspective of the large derivative industry, it is not just something as simple as dolls. The derivatives industry is a model that can support the entire operation of enterprises and industrial systems around the IP image. This must be the future development direction of the film industry. -- Ye Ning

"In the next five years, whether for companies or practitioners, you will have to accumulate enough energy to gain a foothold in the market." Ye Ning said,"Now I am very excited every day, discussing the possibilities of each movie with many workers, but I feel very nervous every day. I have to seize the time to sort out the logic of the movie, help my team, and lead More directors, more good works can succeed and be accepted by the audience, and then help them continue to form their own products and their own genre language."

Editor: Nancy