The next day, Chen Lin went to Star TV to see the newly established TV drama department and the script preparations for "** Power".

Lawrence or Americans are very efficient at work. Chen Lin has only been back in China for about 10 days. Not only has the new TV series department been in good order, but he has also found eight first-class American screenwriters, "The Power". The first season of the script has been created for eight episodes. At this speed, all the scripts of the first season can be completed in mid-July.

Chen Lin looked through the 8-episode script that had been completed and found that it was very good and fully meet his requirements. The eight screenwriters were indeed first-class, and they were very skillful in division of labor and cooperation. This made Chen Lin wonder how Lawrence did it in such a short time, because in China, Jade Emperor Entertainment, first, it took a lot of manpower and material resources to find first-class screenwriters, and secondly, it took two months to half a year to familiarize themselves with teamwork.

"Boss, it's easy to find a screenwriter in the United States, just go to the Screenwriter's Guild." Lawrence explained: "The 12,000 registered screenwriters in the American Screenwriter's Guild, and it's easy to find a screenwriter team."

Next, Lawrence further introduced the characteristics of American TV production to Chen Lin.

American TV series usually only broadcasts one episode a week. In the production process, the main creator (producer) usually first conceives the story creativity, and then finds several screenwriters to form a team. The producer and director do preliminary preparation, shooting, post-production, distribution and broadcast. Therefore, American drama producers coordinate the overall situation and have a very high status. Strong screenwriters are the magic weapon to win. The directors of American dramas are usually different in each episode, so they don’t have much say.

Unlike Asian TV series, when recruiting leading actors, first consider whether the character's temperament meets the script requirements, whether the acting skills are good, rather than whether the popularity is high, and whether the beauty is not good (except youth idol dramas). Therefore, most American drama actors have solid acting skills. The characteristics of weekly broadcasts and ratings are doomed to control the character's fate in the hands of the screenwriter, so the status of American drama actors is not high.

In the American TV industry, screenwriters are king.

This is in sharp contrast to the film industry, which is dominated by directors and created by all the contents of the creation. Just like film directors Steven Spielberg and James Cameron, they are the absolute bosses of the conductors and crew. In the field of television, the famous screenwriter is in charge.

These screenwriters not only create TV series, they also act as executive producers, often called "program ** authors". Because they control program episodes according to scripts, they can hire actors or hire various directors for different plots.

"For American dramas, screenwriters are king, and they are at the top of all staff in a TV series." Lawrence seemed to appreciate this system, but he quickly explained: "Of course, this does not mean that American screenwriters can dominate. The so-called "screenwriters are king" actually refers to the 'script center', which values ​​books rather than someone."

Unlike Chinese screenwriters' single fights, the American screenwriter team has very distinct characteristics. For example, "The Soprano" and "Friends" have no less than 8 screenwriters. "Lost" released in 2004 is said to have 10 screenwriters discuss the plot together when writing the first draft, and the plot is detailed to every minute, and there must be a "burst point" to catch the eye every six minutes. "Friends" has been filmed for ten years, and the crew usually has no less than 12 screenwriters. They gather together for a long time to discuss a certain detail and improve the plot at any time.

"Lawrence, your job is excellent. It seems that our first American drama will start filming in mid-July. Can you see the first season be released in October?" Chen Lin smiled very satisfied.

"Boss, I want to correct your mistakes." Lawrence suddenly laughed: "Don't wait for mid-July, you can start filming in early July, and you don't have to wait until October to release. You can release the first three episodes after filming."

"Is that true?" Chen Lin was stunned when he heard this. He looked up at Lawrence and listened to his explanation. Chen Lin knew that he really didn't know much about the American TV market, and some common sense were inevitable.

Sure enough, the American drama production model that Lawrence mentioned is very different from that of China.

American dramas are basically written and filmed now. As long as the outline is finished, you can shoot it after several issues, so you don’t have to wait for all the scripts to be finished.

The first few episodes can be screened. This mode is mainly determined by the characteristics of American dramas being broadcast weekly and focusing on the ratings. The advantage of writing and filming now and filming now and filming now and filming now is that the script can be slightly modified based on the information feedback from the audience. There are many relevant survey companies in the United States that can let you know the audience's preferences. For example, a supporting role is very outstanding. Originally, he appeared in one or two episodes, but 80% of the audience like him, so the screenwriter will soon add a show to the supporting role.

Another advantage of doing this is to save costs. If the ratings of the first few episodes of the first broadcast are not ideal, you can kill them with one knife. If the eunuchs behind them are gone, you don’t have to film them anymore. Isn’t this a loss to recover? TV stations also give money to each episode for broadcast.

However, this model is not without its disadvantages. Generally speaking, good-looking dramas and relatively high-rated dramas will be renewed and even filmed for more than ten seasons, resulting in a decline in quality and a good ending. For example, the more you go to "Prison Break" and the more you delay the show, the ending is unfinished.

Many Americans who come to China envy Chinese audiences who can watch three or four episodes of TV series in one night, and can finish a drama in one month, and only watch a cheating American drama in one week. Some classic dramas have to be watched for about 10 years.

Only the American people have such a strong heart. With the rise of videos, a large number of American dramas were introduced to China. Chinese audiences did think American dramas were very exciting when they first watched them, but his weekly broadcasting model caused a large number of eunuchs.

After listening to Lawrence's introduction, Chen Lin finally had a preliminary understanding of the American TV production model. The system of screenwriters as king is indeed different from that in China. Even if Jade Emperor TV is already attaching great importance to the status of screenwriters, it still cannot be as thorough as the United States. Jade Emperor TV's current model is still made by the joint decision of the producer, director and screenwriter, and the proportion of power in the producer is still the largest.

"Lawrence, it seems that I am very relieved to hand over the company's first American drama to you and the people in the TV drama department. I can be the boss."

"I have to thank you for your trust in your boss, otherwise I wouldn't dare to let go."

"We have a saying in China that people do not doubt people, don't use them. Don't worry about them. You can use your intelligence and talent to bring the company's team up. I can understand some of the basics. Star Media will also prepare for listing within three to five years. Once listed, you will be the senior management team that will receive no less than 5% of the shares. This is my boss' commitment to you."

"Boss, I already know your generosity. If you hadn't appeared, I was still in a state of great difficulty. Maybe I would have returned to my hometown in the countryside and spent the rest of my life. How could I be so full of energy like this? In Chinese, boss, you are my nobleman."

“Haha~~”

Chen Lin was very happy. He was very satisfied with Lawrence's attitude and trusted the president's ability and character. When acquiring Bello TV Station, Lawrence did not fight for his own interests at that time. Instead, he could sacrifice his own interests for the benefit of the TV station's employees. For example, he was willing to lower the conditions in exchange for the new boss to continue to hire the original personnel.

Chen Lin, an American who talks about feelings, likes it very much. This is why he promoted him to use it after less than two months of being with Lawrence.

After remembering, Lawrence reported to the boss about the preparations for the crew of "** Power". The crew is currently composed of a producer of the TV series department, leading eight screenwriters. They will go to the three major film art colleges in the United States in half a month: the School of Film and Arts of the University of Southern California, New York University School of Film and Television, and the University of California, Los Angeles to interview actors. As for director Lawrence, he met several friends at the director's union, and through their introduction, there are already several candidates.

Chen Lin nodded after hearing this. It seems that it is different to have a professional team. As long as he, as a boss, sets up a major policy direction, the people below will do other things for you.
Chapter completed!