Rebirth of the courtyard, the start is 80s

Chapter 663 With such good conditions, why are you still hesitating?
"Business?" Nakano Yuri was stunned, "What business?"

Cao Zhiqiang immediately said seriously: "Ms. Nakano, in view of your excellent performance on the stage before, on behalf of Aiyin Agency, I solemnly invite you to join and become a contracted artist of our agency."

After hearing these words, Nakano Yuri looked confused: "Huh? Aiyin Office? Invite me to join?"

Cao Zhiqiang nodded solemnly: "That's it."

Seeing Yuri Nakano still looking confused, Cao Zhiqiang said quickly: "That's right, maybe you haven't heard of Aiyin Firm, which is normal, after all, this firm was just established not long ago.

Well, let me introduce this firm to you first. "

After a brief pause, Cao Zhiqiang continued to explain: "Actually, the Aiyin Office was started by me and Akina Nakamori. By the way, do you know Akina Nakamori?"

"Of course I know her." Nakano Yuri nodded, "Akina-chan, many male classmates in my class are her fans."

Cao Zhiqiang smiled: "It's good to know her.

That’s right, Aine Office was established by Ms. Akina Nakamori. She is the legal person and president. As for me, I invested some money in it and took a small share.

So far, there are only two contracted artists at Aiyin Agency, namely me and Akina Nakamori.

But soon, more artists will join.

Artists who are currently negotiating for cooperation include Sayuri Yoshinaga, Tomokazu Miura, and Kyoko Koizumi. These three have initially agreed to join our Aiyin Office. If you can join, you will be the No. 6 contracted artist of our office. "

"Ah?" Yuri Nakano was stunned, "Sayuri Yoshinaga also wants to join?"

"Of course." Cao Zhiqiang nodded.

"How is this possible?" Yuri Nakano smiled and shook his head, "Sayuri Yoshinaga is a senior, and she seems to have her own firm. How could she join your little-known little firm?"

Cao Zhiqiang smiled: "I know you don't believe it, but of course there is a reason for this. The main reason is that although our firm is small, the conditions are too good."

After a brief pause, Cao Zhiqiang began to introduce Aiyin Agency’s contract conditions, resource advantages, and the contract status with Japan’s current mainstream entertainment companies.

First, there are the signing conditions.

Currently, there are basically two models of income for artists in Japan, namely the step-by-step system and the feed-in system.

The step-by-step system can be understood as a share-sharing system, or a piece-rate wage system. That is, if there is work to do, there will be income, and if there is no work to do, there will be no income.

Generally speaking, the step-in-one system of Japanese artist agencies has a very strict share ratio, which is generally [-]%, that is, the entertainment company gets [-]%, and the artist gets [-]%. There are also many companies that use the [-]% system, which means the company gets [-]%. Get [-]%, artists get [-]%.

As for the 90/[-] split, at least it doesn’t exist at the moment. It would only appear in the [-]s, and it would require a big-name star.

For example, Miura Yuka, the agency he currently belongs to is the same agency as his wife Yamaguchi Momoe, both Hori Productions, which later became the famous HORIPRO company.

At first, Miura Yuka joined the band department of this company as a band singer. Later, on the recommendation of the agency, he became an actor. After he became famous, he mainly worked as an actor.

As for Miura Yuka and the firm he belongs to, it is the step-joint system that is implemented, which is the share-sharing system.

Because of this, when Miura Tomokazu was little famous, he often had no work to take. He was literally penniless and even starved. It was not until he became an actor and became famous that the situation gradually improved, but not by any means. There is so much money in the world.

Especially now that Yamaguchi Momoe has retired and is pregnant, the whole family has to rely on Miura Yuka alone, and the pressure is even greater.

Compared with the step-by-step system of the share-sharing model, the material-feeding system is very simple, it is a fixed wage system.

In other words, no matter how many jobs you take or how famous you are, you will receive a fixed salary every month.

This is actually the same as the situation in China and Hong Kong. It is equivalent to saying that actors are employees who receive a fixed salary, but the job of such employees is just acting.

Compared with the share-sharing model where you only get money if you work, the rationing system is actually more popular because this system is more stable and the income is not small.

However, this fixed salary system is based on seniority, that is, based on seniority.

Generally speaking, the older you are in the company and the more famous you are, the more fixed salary you will receive.

For example, Takeru Utsui, the actor who plays Oshima Shigeru, works with materials, and his income is quite high.

If it weren't for the high income he received every month, Takeru Utsui wouldn't be able to support his wife's sky-high monthly treatment fees.

Whether it is a step-by-step system or a feeding system, currently Japanese entertainment companies, the so-called brokerage firms, generally implement one system, and it is rare for the two systems to run in parallel, because that situation would be too disadvantageous.

Kaikaiyin Office is different. The conditions that this office gives to artists are two systems superimposed in parallel.

The so-called parallel superposition is a fixed salary plus profit sharing model that is extremely rare in Japan.

Specifically, after an artist signs a contract with Aiyin Office, in addition to the fixed basic salary every month, if the artist takes the job, there will be an additional share, and the share ratio is as high as five to five, that is, [-]/[-].

This situation can be understood as basic salary plus bonus.

The basic salary is fixed every month and will be increased every year based on your length of service.

In addition to the fixed salary, if you accept a TV movie or advertisement, you can also get a bonus based on a share-sharing model.

In this way, the artist gets the big part of the income, while the entertainment company gets the small part.

After all, the share ratio between the entertainment company and the artists is [-]:[-], and on this basis, the entertainment company also pays a fixed salary every month. After all, the artists naturally get more.

Take Miura Tomokazu, for example. If he joins Aiyin Office, the current conditions offered are a fixed salary of 200 million yen per month. This income is enough for you to make money without doing anything.

In addition, the advertising, TV, film and other work that Miura Tomoka takes over will be split [-]-[-] with the agency.

Of course, generally speaking, after joining a company, you must obey the company's regulations and accept the movies, TV shows or commercials that the company asks you to make. You cannot refuse innocently.

If you disobey orders and the reason is not sufficient, your money will be deducted or even frozen.

However, if Miura Yuka joins Ai Yin Office, this mandatory condition will no longer exist, and everything can be discussed.

In other words, the signing conditions of Aiyin Agency are more money and less binding. If artists join here, they will have more freedom and get more money than joining other entertainment companies.

But this is not enough. This involves the firm’s second advantage, resource advantage.

As mentioned before, the Japanese entertainment industry, especially Japanese dramas, became a stagnant water after its explosion in the 90s. The fundamental reason is not that there are no good scripts, but that good actors are not available.

The reason why good actors are not getting hired is actually because Japanese actors are being squeezed too hard, either through the step-by-step system with a [-]-percent share, or the starvation-to-die system.

In other words, in the Japanese entertainment industry, at least in the field of TV dramas, artists are an absolutely disadvantaged group. TV stations are the strongest, followed by offices.In Japan, the pay for artists on television is pitifully low. Even for movies, the pay is actually not much higher, unless you are a top-notch popular movie star, such as Ken Takakura and Sayuri Yoshinaga.

The reason why the pay is low is because most of the money is taken by the agency.

So here comes the question, since the agency squeezes so hard, why don't actors go it alone and open their own agency instead of joining another agency?
The reason is that in Japan's entertainment industry, especially the television and film circles, acting resources are basically monopolized by large firms.

For example, in the film industry, the top level is major film companies such as Toho, followed by various artist management companies that have good relations with these film companies.

Generally, when a film company wants to make a movie, the director sends an announcement to the major agencies and asks them to send actors over for selection. Only the top stars who are particularly famous are the ones the film company comes to look for.

For example, Yoshinaga Sayuri and Takakura Ken, two top celebrities, have their own offices, namely Yoshinaga and Takakura.

The reason why these two people can open their own offices is because they have no shortage of resources. Even if they are sitting at home, there are many big directors looking for them to film movies.

Precisely because there is no shortage of resources, top-notch actors like Yoshinaga Sayuri and Takakura Ken will basically not engage in TV dramas with low income and just to gain popularity, but focus on acting in movies.

After all, movies pay more and are more famous.

However, top stars like Sayuri Yoshinaga and Ken Takakura are in the minority after all, and most second- and third-tier stars still have to find their own resources and roles.

If they rely on themselves, they will not be able to obtain good resources, so they must rely on the firm.

Only those firms can get good resources, such as good movies, good TV series, etc.

For example, Yuka Miura and Momoe Yamaguchi are both famous, but in fact, they are completely dependent on the firm.

Once the agency doesn't give them scenes and hides them, they will have no scenes to shoot and no money to get.

If you don't listen to the firm, the firm will block and suppress you, resulting in you not being able to receive films or advertisements at all.

Perhaps you should say that once you have gained a certain reputation, just quit your job and go it alone.

That can only mean that you are too naive.

In addition to simulating relationships with top resources such as TV stations and film companies, Japanese artist agencies have mastered the channels of these resources. There is another point that cannot be explained clearly. Most of these entertainment companies have deep relationships with Yakuza organizations.

Even many so-called artist offices were established by members of the Yakuza organization.

The so-called Yakuza organization is the Yamaguchi-gumi. Don't forget that after 2000, most of its members did not do well, but in Japan in the 80s, these people were still quite intimidating.

If an actor does not have a big background and is not famous enough, he usually cannot escape the control of the Yakuza organization.

The same is Yuka Miura. He actually has a background in the Yakuza organization behind him. Of course, this refers to later.

The current Miura Yuka is not yet at the level of being linked to the Yakuza organization, but the agency he is currently working for, namely Hori Productions, has the Yakuza organization behind him.

However, as for these Yakuza organizations, if they meet the real bosses, such as Yoshinaga Sayuri and her husband, it will not be enough to watch at all.

Therefore, currently, with the exception of a very few top stars who are well-known, have deep backgrounds, and have no shortage of resources and money, such as Sayuri Yoshinaga and Ken Takakura, most stars, even some first-line stars with no background, have to accept the agency Control and squeeze.

In this case, the male actors are better, but the actresses are just fine.

It is precisely because of this that the queens of Japanese dramas in the 90s all retired early in their prime. Even Yamaguchi Yuri retired early in her prime. Although the reasons stated to the outside world are various, the actual reasons are probably also in her heart. Unbalanced, can't stand that kind of oppression.

Also, when your fame is small, you can naturally accept all kinds of harsh conditions, but when you become famous and find that you have to accept those harsh conditions and are unable to resist, you will most likely understand. Frustrated, I wanted to retire.

In addition, like high-end dinner parties and the like, the Japanese entertainment industry is equally dark, especially in the 80s and 90s. The level of darkness is not much worse than that of the Korean entertainment industry later.

Therefore, if you are an ordinary actor with no backer, if you do not have the protection of a brokerage company, and you just work alone, once you become famous, you will be controlled by those Yakuza organizations every minute. That situation will be worse than being squeezed by your brokerage company. .

Because you are squeezed by the brokerage company, you are a serious person with a serious job, and you don't need to be labeled as a Yakuza member. At most, you can say that you have a background in this area.

But if you are forced to join the Yakuza organization and truly become one of them, you will never be able to cleanse yourself of it for the rest of your life.

Therefore, Japanese brokerage companies, on the one hand, monopolize performing arts resources, and on the other hand, they can provide protection for artists. If artists want to have a safe job, the best way out is to join a reliable brokerage company.

If you want to work alone, it's not impossible. Then you must have a great background, or you must be very lucky and have someone to protect you.

For example, Yoshinaga Sayuri is protected by her husband, while Takakura Ken is protected by many big directors.

But in general, Yoshinaga Sayuri's status and energy far exceed Takakura Ken.

The reason is that Sayuri Yoshinaga's husband, Taro Okada, is a director and senior executive of Fuji TV and has top-notch resources and connections.

Relatively speaking, although Aiyin Office is a newly established firm, due to fate, the president, Cao Zhiqiang, has an irreconcilable relationship with the three giants: Warner Pioneer Corporation, Fuji Television and Toho Corporation.

Coupled with the optimism of a heavyweight like Endo Minoru, this resulted in that although Cao Zhiqiang was a foreigner, the resources he had at his disposal were terrifying.

Let’s not talk about anything else, let’s just talk about Warner Pioneer. Although this company is not yet a first-class record company in Japan, it has great power with the backing of Warner Group and Pioneer.

Not to mention Fuji TV, which is one of the top five TV stations in Japan.

Toho Corporation is equally scary. It is not only a film production company, but also a distribution company. It also has its own theater chain, and its energy is also not small.

With these three resources, plus Cao Zhiqiang’s official background in the mainland, and the current honeymoon period between China and Japan, many forces in Japan are still thinking of using Cao Zhiqiang as a springboard to enter the mainland market. This has resulted in Cao Zhiqiang being a hot commodity now. Everyone must protect him.

Not to mention, Cao Zhiqiang himself is talented and the songs he writes sweep everything.

"So, Miss Nakano."

After talking about the advantages of Aiyin Firm, Cao Zhiqiang took a sip of water and then said again:

“If you agree to join our Aiyin Firm, not only in terms of income, you will not find any other firm that is better than our firm, but also in terms of resources, many small and medium-sized firms cannot compare with us.

What's more, if you join our agency, I will personally write songs for you so that you can become a famous singer in the shortest time.

In addition, I will also write a TV script for you, allowing you to become a household name TV star in the shortest possible time.

To put it simply, I can sign a gambling agreement with you and guarantee that you will become a first-line star in Japan within three years, at least to the level of Momoe Yamaguchi. If you cannot do this, you can terminate the contract with us at any time.

With such good conditions, why are you still hesitating? "

(End of this chapter)