After entering the 21st century, the proportion of movie box office revenue in the overall movie revenue will decrease increasingly.

The surrounding income will gradually become the main force of the movie's late income.

Disney, known for its animated films and focuses on the youth market, is the biggest winner of this change.

Similarly, there is Hasbro, which owns the copyright of Transformers.

Later, there was a kind of unhealthy trend that was created to make movies to sell the surrounding areas.

Although this is a bit exaggerated, the importance of surrounding income is unreasonable.

Producers can allow well-known directors and superstars to get involved in box office and DVD-related revenue, but they will never allow them to get involved in other peripheral revenues.

This shows its importance.

And this is even more so in the "Harry Potter" series.

Charlotte is now aiming here

Rowling himself has the most complete system and the largest imagination space, but it is difficult to generate too much peripheral income.

After all, whether it is a magic wand or Hogwarts' school uniform, it is impossible to make it into a real item by brains alone.

Only by visualizing it can we open up peripheral markets.

And imagery can be divided into high and low.

The best one is, of course, to produce a well-quality live-action movie based on the original work, like Charlotte's original Harry Potter series.

This is the best promotion solution, but it is also the most costly and time-consuming solution.

The second is animation.

In this regard, the one who is most skilled in playing in Japan is the Japanese side.

The animation industry in the island country is very developed, and they have very mature original comics - TV animation - live-action movie triple jump structure.

Every time you skip a level, the influence of the work will expand, and the range of peripheral products will become wider and wider.

In the second decade of the 21st century, China gradually learned this trick in IP development. The one who was the most skilled in playing was also an Antarctic creature.

As for the United States, although the cultural industry is also developed, and there are also historical comic industry giants such as D and Marvel, they attach more modest importance to TV animations with relatively low picture quality.

Even though almost every superhero with a little fame has an animated version, its influence is relatively average.

However, this does not mean that the American TV animation industry is not profitable.

The fact is that almost every TV animation that can be played on American TV is like other longevity American dramas, with several seasons or even dozens of seasons available.

One season basically means a year.

During this period, the related peripheral income will even exceed many live TV series.

As for cartoons, it is naturally easier to sell peripherals than live-action versions. This is enough to see Disney's big kills in the movie peripheral market.

As for why the American TV animation industry has never been famous, Charlotte believes that it may be related to the fact that the American film industry is too perverted.

There is no way, for the sake of the US dollar, Hollywood screenwriters, directors and producers have been thinking about what works suitable for adapting them into movies almost all year round.

After all, with the original work as a foundation, the safety factor of adapted works is much greater than that of pure original works.

This is a very helpless reality.

What makes people even more helpless is that because of the perverted commercial smell of Hollywood practitioners like a hyena, local cultural works in North America, whether they are comics, are often bought by Hollywood before they can enter the stage of making TV animations.

In other words, the powerful film industry in the United States in the past directly squeezed the living space of the TV animation industry.

In the United States, the normal IP development process has become the original work-movie-TV animation. That is to say, only after the bonus of successful movies and in order to further develop the surrounding markets will there be TV animations.

There are many examples in this regard

After the prequel of "Star Wars", the TV animated version of "Clone Wars" and "Rebels" series were produced;

"The Master of Training the Dragon" also gave birth to the corresponding TV animation version after the successful movie...

Therefore, in North America, there are not many cultural IPs that are animated by TV without experiencing movies.

In general, except for a few original works in the true sense, it is difficult to make movies due to technical or style reasons, or because the copyright of the movie has not been negotiated for the time being.

This is actually a time difference issue, not to say that the North American TV animation industry is not profitable.

What Charlotte wants to play now is a time difference.

He knows the direction of the original world and understands how successful the "Harry Potter" series is.

If he can now directly obtain the copyright of the TV animation version, he can directly use his own unique means of combining spells and technology to create a high-quality TV animation at a lower cost.

And it can be launched almost simultaneously with the original work.

This not only allows the works to be quickly promoted, but also means that before the Harry Potter series is filmed, the interests of related peripheral products will be held in his hands.

After all, as mentioned before, Rowling's words alone cannot show many peripheral products.

But animations are OK.

Even more, because Rowling's original work was made into a TV animation, there was almost no need to consider TV animation too much in terms of scripts because it was long enough, and it could basically follow the original work completely, and even compress the plot like the movie version;

Even if he is lazy, he can directly let Rowling be the screenwriter of the animation.

Anyway, before the movie became a movie, Rowling was still relatively free.

After the transformation of the book of Man is completed, the specific process of animation does not require too much energy. Charlotte just needs to focus on good character design and scene design.

In other words, the adaptation of the TV animation version of "Harry Potter" will not involve Charlotte's energy.

He can still make his own movie step by step.

During this period, the animation and peripheral revenue of the "Harry Potter" series will fall into his pocket.

Even if Rowling may propose to modify the agreement and ask for a share of the share after becoming famous, Charlotte can still get the majority of it.

Of course, before the movie was made in this series, the peripheral benefits may not be that huge, but on the other hand, the cost of investment is also very small!

Moreover, he can also use the anime version of characters and scene designs, which in turn subtly influences the plot direction of Rowling's original work.

This is so powerful that it is not known whereabouts than simply and roughly interfering directly.

Even when Warner and other big capitals intervene and officially start filmmaking, as long as the animation version is successful, Charlotte also has the capital for negotiation

The most important thing is the scene and character design plan of the animation version, as well as related viewership data, etc.

These things can save the screenwriters and directors from converting text into images, and use data to clearly determine which plots in the book are the most popular.

This will save a lot of time for the preliminary preparations for the movie version.

But these things are definitely in the hands of the animation producer.

This is the biggest reliance for Charlotte to participate in the live-action movie production at that time and ensure that he will not be kicked out.

In contrast, it is a trivial matter to get the copyright of the movie version from Rowling.

After all, as long as Rowling is not stupid, she will at most sell the adaptation rights of the first part.

Even if you take it into your hands, it is not enough to guarantee Charlotte's interests.

Unless he takes risks and makes that movie completely with his own money.

But the movie version of "Harry Potter and the Sorcerer's Stone" born under that situation is no longer a ripe place, but a forced ripening. There is no guarantee whether it can succeed.

Charlotte thinks it is better to be more conservative.

"And, to a certain extent, the production of TV animation can also allow the special effects of the Ghost Party Studio and the animation staff to practice!"

Charlotte explained to Charlize,

"If I successfully get the adaptation rights from Joanna Rowling, I will make a 3D scene and a 2D character model for the animation of this work."

:
Chapter completed!