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It's the end of the year, and everyone is busier than before.

Cheng Yu'an doesn't need to stare at the performance of each movie, but Yu Gong, as the chairman of Long-distance Media Group, has to attend the annual summary report meeting of various departments, and the same is true for Long-distance Technology.

Although the plan for Tudou to go overseas is progressing slowly, it is also advancing steadily.

Needless to say, South Korea is the first stop for Tudou to go overseas, and it is also the stop with the best results. Tudou Korea has completed the integration of YC Studio's TV drama department, and YC Studio will gradually integrate into Tudou Korea in the future.

Yes, I still can't trust the Korean guy, and now that friendly cooperation has resumed, who knows when this group of people will turn their faces.

The Japanese station has had a bloody fight with Netflix this year.

Relying on its powerful Hollywood film library, Netflix has attracted a huge number of users as soon as it landed on the Japanese station.

However, Tudou Japan Station withstood the first wave of offensive by virtue of its first-mover advantage.

In September this year, Netflix launched its first drama series "White Collars in Underwear" in Japan, and the response was mediocre.

Tudou, on the other hand, launched its first cartoon "One Punch Man" in October.

The Taiwan network simulcast has achieved very good response, and then in the same month, the live-action drama series "Hot Blood Street" and "Memorandum of Jinshang Today" were launched, which also caused a frenzy of ratings.

But the short-lived victory did not make Tudou feel relaxed. Netflix is ​​too rich and too powerful.

Next, in markets such as Xinmatai, Bay Island, and Hong Kong Island, the first-mover advantage of potatoes will be gone.

It can be said that starting next year, Tudou will truly meet Netflix in the Asian market.

According to reliable information in the industry, next month, Netflix will fully establish stations in Bay Island, Hong Kong Island, the Philippines, South Korea, India, Malaysia, Singapore, Thailand and other regions and countries.

Tudou's Southeast Asian headquarters is built in Singapore, and Netflix almost collides with Tudou at every step.

Deng Runliang, president of Tudou Southeast Asia (former vice president of New Media Group in Singapore), has already blown the bull out in an interview: "In Southeast Asia, we want to let Netflix come and go."

Don’t worry about South Korea. Telecom has been operating in South Korea for more than ten years and is confident of defeating Netflix.

Personally, Cheng Yu'an has to stare at "The Wandering Earth" - it will be launched in two months, and at the same time, he has to attend various conferences and forums held at the end of the year.

I was busy, but when I got home at night and made a video call with my wife and children across the ocean, I was revived instantly.

Cheng Yu'an couldn't stay with them, so he could only video chat with them every day, show his face in front of his daughter, don't go back to China next year, it would be embarrassing for her daughter not to recognize him as a father.

At the annual meeting of the Producers Association at the end of the year, the association received an important proposal:

"Hong Kong and Taiwan films require the addition of ladder distribution."

In the two years since the implementation of step-by-step accounting, the results have not been very good. There are ten films a year, and there are losses and gains.However, this policy has indeed eased the conflict of interests between theaters and distributors, and both parties have indeed benefited a lot from this policy.

However, this policy excludes Hong Kong and Taiwan films, as well as co-productions between the Mainland and Hong Kong and Taiwan.

This made Hong Kong and Taiwan filmmakers very dissatisfied, and they clamored to enjoy the same treatment as domestic films from the first year of the policy's introduction.

In particular, film makers on Hong Kong Island saw that "Monster Hunt" was full of oil, and their own "Journey to the West: Havoc in Heaven" had a box office of over 10 billion, but the film studio only made a little hard money.

Dissatisfied with this policy.

After two years of trouble, the association finally had to face up to this problem.

But for Hong Kong and Taiwan films to join the ladder of accounts, representatives of mainland productions almost unanimously opposed.

There are only 10 spots each year, and I don’t have enough to eat. Every year, I fight hard every year. Hong Kong and Taiwan films still want a piece of the pie, but there is no way.

Theaters don't matter, if there are movies, who's making money is not making money?

Hong Kong and Taiwan sent Wen Jun, Jiang Zhiqiang, and Jiao Xiongping as representatives to lobby the association.

They insist that the three places on both sides of the strait are one family, and that Chinese-language movies do not distinguish between you and me, and they must unite to fight against Hollywood's invasion.

But one of the biggest problems we face is that currently pure Hong Kong and Taiwan films and co-productions enjoy the same treatment as mainland films when they enter the mainland - a fixed 43:57 split.

"Hong Kong and Taiwan films need to enter the ladder of accounting, how to grasp the censorship scale? Really according to the requirements for mainland films, how many Hong Kong and Taiwan films can enter the mainland?" asked Li Xiaoping, vice president of Guangxian, a representative of mainland producers.

In fact, the mainland production representatives here have a very real worry.

If Hong Kong and Taiwan films can enjoy step-by-step accounting, "Walking with the Gods", which is being produced remotely, will definitely come in.

Yao Yao will restart Golden Harvest again, who knows what ghost movies Yao Yao will come up with to share the cake.

They don't want to see the remote family making too much money on this policy.

A question left the representatives of Hong Kong and Taiwan speechless.

The only advantage that Hong Kong and Taiwan films have over mainland films now is scale. The censorship standards for Hong Kong and Taiwan films are relatively loose, which can often bring different sensory stimuli to mainland audiences.

Even if they had ten guts, they wouldn't dare to accept the same scrutiny standards as mainland films.

Not to mention, Hong Kong Island's most popular "Eavesdropping" series, if it is really censored by the mainland, this film will not even be approved.

This issue is stuck on this issue.

Sitting high on the Diaoyutai, Cheng Yu'an smiled as he watched Wen Jun and the others being stunned by the Mainland producer.

Of course he knows the impact of the step-by-step account sharing policy on Hong Kong and Taiwan films. Teams have gone north to find gold, and the directors who stayed in the mainland can't make much money.

Every year, I hang on to my breath, and I can't die, and I can't live anymore.

If Hong Kong and Taiwan movies can really let go of their airs and fully integrate into the mainland, the political and cultural significance in this is far greater than a ladder of accounts.

The Hong Kong and Taiwan delegation expressed that they would go back to discuss this issue: "But we will not give up on this appeal. After all, we are a family and we are facing the same powerful opponent."

The delegation is mainly based on Hong Kong Island. In their eyes, Bay Island does not have the strength to make a blockbuster film that can enter the ladder.

How many years has it been since Bay Island has seen a movie with an investment of over 1 million yuan, and you still want to enter the ladder of accounts?

A fool's dream.

Mainland filmmakers don't understand this truth?

Of course they knew, that's why they opposed the proposal.

How can there be such a good thing if you invest 5000 million yuan and want to take a step-by-step account split.

We quarreled all day at the meeting with no results.

Finally, it is time to enter the arrangements and prospects for the Lunar New Year and Spring Festival stalls.

Cheng Yuan brought the news back to the company.

Colleagues in the company also said that Hong Kong and Taiwan filmmakers want to eat swan meat.

"Go for the cheapest."

…………

Wu Ershan withdrew from the crew of "Walking with the Gods" and began to work on the promotion of "Looking for the Dragon".

In fact, this movie does not need much effort to promote. First, there is a huge source of original work, and second, the failure of "Nine-story Demon Tower" has already advertised "Looking for the Dragon".

But Wu Erfan still explained why he chose Reba, a young rookie, to play Shirley Yang.

"Reba has a good body function. I need an actress who dares to do moves and can do moves. Reba fits the requirements of the crew very well. She is so beautiful and popular, so I chose her."

Reba's previous performance in "The Love of Carat" won the affirmation of the audience, but there was no doubt about her acting skills at the scene.

Reba thanked Wu Erfan for his trust, and bragged on the scene: "I really enjoyed the thrill of the action scene. I am also very grateful to Liu Huohua, Boge and Xia Yu for teaching me on the spot. I learned a lot about acting."

The author of the original work of "Looking for the Dragon" has always been on the platform, lamenting that "it feels like a dream" from participating in the screenwriting to its release. He revealed that "Looking for the Dragon" was written according to the ninth part of "Ghost Blowing the Lantern", And I hope that the sequel can continue to be filmed later.

Huang Bo said with a smile: "Wouldn't it be fun to see us get bruised and swollen at the scene?"

And the performance of the film did not live up to the painstaking efforts of the creators.

On the first day, it scored a super good result of 1.6 million, which is the best result since the opening of the Lunar New Year show.

The audience said: "It is the benchmark of domestic fantasy adventure films!"

It is said that Lu Chuan gritted his teeth when he heard the news.

He really didn't know where he was losing.