Although Teacher He is just a host, he has a wide range of friends. Whether they are film and television actors, film and television directors, or some producers, he basically knows everyone in the entertainment industry.
So of course he would know some of the screenwriters of film and television dramas. Of course, after hearing what Ye Ming said, Teacher He recalled that among his friends, there were really very few screenwriters, because screenwriters rarely could survive. .
There are only a handful of film and television screenwriters in China who can actually survive, and those who are qualified to be called famous screenwriters are basically very few in Teacher He’s circle of friends who can be called his friends. Just a few famous screenwriters.
And even if you think about these famous screenwriters, their status is not particularly high.
So thinking of this, Teacher He said with emotion: "What you are saying is true. Among my friends, there are only two or three screenwriters who are really famous in the entertainment industry.
For other young screenwriters or more experienced screenwriters, it doesn't mean that they don't have talent, it just means that they don't have opportunities.
Opportunities are also very important for film and television actors in the entertainment industry, but they are also very important for screenwriters. Without writing a hit drama, this screenwriter will never be able to get ahead."
Ye Mingshen said with approval: "Of course, even if the screenwriter writes a hit drama, it is actually the same. The book becomes a hit, but it is the producer, director, and starring actors who make money. Needless to say, the producers , of course people will make money when they invest.
If you are a director or something, the fee will definitely bring in a lot of actors. The actors may not be paid particularly much. Compared with the money earned by a film and television drama, the actors' salary, even the salary of the leading actor is not much. There will be a lot of them, and this is fixed
Basically, everyone has a default unspoken rule. There are certain rules and fixed rules for how much a first-tier actor earns, and how much a second-tier actor earns. So just like when a movie or TV series becomes a hit, then the actors' remuneration is also the same. It’s fixed and not too much.
But one thing about actors is that as long as your play becomes a hit and you become a first-line actor, then in this case, there will be a lot of endorsement companies in the future, which can make money, so after a play becomes a hit , whether they are producers, directors or starring actors, in this case they all have the opportunity to make money.
But for screenwriters, there is no such opportunity, because screenwriters work behind the scenes, and the remuneration received by screenwriters is actually the lowest among all.
And they are often deducted, because screenwriters basically have to collect money in three parts. It is a deposit at the beginning, and you, the screenwriter, are appointed to write the script.
The second is to start filming. At this time, depending on the situation, usually another part will be given, but only when the film and television drama is actually released or goes online, then the screenwriter can receive the final payment.
That is the last third of the entire reward.
But for this 1/3, screenwriters usually have no chance to receive it, which means that they may be rejected by producers and directors. In fact, generally speaking, most screenwriters in the entire entertainment industry are the most able to receive it.
There are actually only two points, one is the first deposit, and the second is the second payment after the program starts.
As for the last payment, many screenwriters will never receive it again in their lifetime. This seems to be an unspoken rule in the entertainment industry. Owing money to screenwriters seems to be no big deal to producers and directors.
In this way, do you think it is possible for a screenwriter to create a work with too much enthusiasm?
Impossible, right?
Therefore, the screenwriter himself does not pay special attention when writing the work, so the nature of the film and television work itself is not good, which means that the foundation of the film and television work is not very good, and he still wants to make a hit film and television work.
Come on, that's basically the kind of smoke rising from the ancestral graves of producers and directors.
Unless the paper maker and the director are looking for books and novels by themselves, and think that the novel has the value of writing and changing, in which case they buy the novel from the author. In this case, the quality of the novel may be lowered.
There is some guarantee.
However, when a novel is adapted into a film or television drama, it actually requires processing by the screenwriter. It does not mean that if you buy the novel, you will be able to make it into a film or television drama. This requires artistic processing by the screenwriter in the middle.
Some directors can do this artistic processing themselves. Directors and screenwriters are two in one, but there are still relatively few such directors after all. Therefore, in this case, the role of screenwriters can be revealed. The important role of screenwriters is
.
However, the status of screenwriters is not taken seriously by everyone. This does not mean that you will definitely be able to make money if you write a good script.
The money you receive is still fixed, but if you have a hit work and someone in the entertainment industry asks you to write a book again, you can increase the price slightly.
Anyway, in this case, I am more of a tool person, so I usually shoot my own books, and I will not write any film or television works with others.
In my opinion, it is impossible for others to buy my works, because others cannot understand my works and cannot capture the meaning of my works, and if others want me to write works, I will not agree.
Because I can direct myself, and I also have a film and television company, can’t I film it myself?
Why bother looking for someone else? So in this case, I shoot my own work myself. Of course, some people may ask me when my next work will be released, and then whether they can invest in my work.
I don't have any direct objections.
Anyway, I will tell the other party that it is okay to invest in my movie, but only the right to dividends and no other rights to dictate, such as inserting a supporting role for me, etc., there is no need to think about it.
Moreover, it is naturally impossible for him to have any control over my organization during my filming. These requirements must be written in the contract. As long as you want to cooperate with me or invest in my film and television series,
If so, a similar contract must be signed.
I will definitely respect investors' money, and I will definitely strive to make investors make money, but if investors want to interfere with the normal operation of my crew under this situation, that is absolutely impossible.
This must be written into the contract in advance. If you agree to these requirements, then I can let him join my crew for investment. But if you don't agree, you can go back. I'm not short of investors, and I won't
Short of money.
The reason why I accept everyone's investment is because I know that it is impossible to be a monopoly in the entertainment industry. No matter what film or TV series it is, even my new The Legend of White Snake, it is not exclusively produced by our company.
In fact, The Legend of White Snake is also owned by other companies, because I know that I will not be able to face the pressure of the entire entertainment industry these days.
But if I win over some people to invest in my works, what kind of pressure will everyone face together? In this case, I will have many fewer enemies and many more friends.
Because the people who invest in my film and television works must have connections and connections in the entertainment industry.
So it’s absolutely no problem to make money after seeing Legend of the New White Snake become popular, and he will definitely not watch others hack my Legend of the New White Snake. This is why few people go to Legend of Yangzi after it becomes popular.
A key reason to hack him.
The investors I found are all top people in the entertainment industry. Their connections are enough to ensure that the legend of New Bridesmaids will not be hacked for no reason.
As long as the actors in our work don't seek death themselves, then others will have no reason for the legend of Black New Lady and White Snake.
So you see, although the White Snake Legend is indeed very popular now, there is almost no negative news. This is not due to me alone, but to me and the investors.
So in general, I can be considered an investor and a director, but I also have another identity as a screenwriter. In fact, this screenwriter’s identity is dispensable, and basically not many people will think of it.
At most, when watching a TV series, my name as the editor may be written at the beginning, but people don’t pay special attention to this, so this also shows that as a screenwriter, he is basically a little transparent in the crew.
exist.
If you think about this situation, I am a producer myself, and I am a screenwriter. Very few people will know about it, not to mention those unknown screenwriters. Even if they write popular works, I dare say
More than 99% of your profits will definitely be taken away by directors, producers, starring actors, etc.
As for the screenwriters, they have actually been given a fixed amount of money a long time ago, so there is no need to be jealous at all. The screenwriters have no right to be jealous, and the possibility that they will eventually get the bonus from the hit work is very small.
Because they can't participate in commercial performances or anything like that, and they can't do anything, the screenwriter can be said to be one of the hardest-working members of the crew. The others can all enjoy great glory under the spotlight, but only the screenwriter seems to be a bit aloof.
Silently and anonymously.
This is actually the fate of most screenwriters. It is a bit sad, but it is indeed the actual situation. At least in the short term, I don’t think this situation will be improved.
Even the possibility of this situation changing over a long period of time is not particularly high.
There is a long way to go to improve the treatment of screenwriters in the entertainment industry."