Cui Chuangang
During the Spring Festival of 2019, as the movie "Wandering Earth" swept the theaters, Wu Jing was on fire again. But this fire is not the other fire. When "Wolf Warriors II" created a box office miracle of 5.6 billion yuan two years ago, Wu Jing was well-known mainly by his director and starring status. Today, people's attention to him has changed from Acting skills have shifted to "financial skills": Wu Jing, who initially joined the cast of "Wandering Earth" as a guest, eventually became one of the investors in the film. With the movie's box office hitting record highs, he is expected to earn hundreds of millions of yuan. The handsome returns.
If you just invest in a movie and make a lot of money, it can only be regarded as a kind of luck and not an investment vision. The amazing thing about Wu Jing is that this is already the third of his investment and becoming the “dark horse” at the box office. Movie. In 2015, he mortgaged the real estate and filmed "Wolf Warrior" out of his pocket. As a result, he won a box office of more than 500 million yuan at a cost of about 80 million yuan. In 2017, "Wolf Warrior II" created an unprecedented box office miracle, and was even regarded as a landmark work in Chinese film history. Wu Jing himself also earned a return of up to 1 billion yuan. Although
has not been a long time as a film and television investor, so far, Wu Jing's investment success rate and rate of return have been amazing. Considering the reality of China's film industry, we may even need to pay tribute to Wu Jing's investment vision. As we all know, film is not only an art but also a business, and it is extremely risky. The public is often concerned about the "booming" movies that are very profitable, but people in the industry know that "ten films and nine losses" are the norm in this industry.
In 2018, although the overall box office of the Chinese film market reached a new high, many listed film and television companies were either in a state of loss in performance, or only made a profit of about 10 million yuan, and may not be able to buy a house in Beijing.
Because of this, Wu Jing's success in the investment field cannot be explained by good luck alone, but should be attributed to his acumen, risk-taking and time-sizing. In his early years, Wu Jing, who focused on martial arts and police genre films, under the background of the gradual decline of such themes, used the courage to shoot the military-themed "Wolf Warriors" series, and then became an early investor in Chinese science fiction genres. It was with his keen sense of smell that he discovered the new excitement of Chinese movie audiences and achieved a huge success that even he himself did not expect.
Of course, no investor can be unbeaten forever. The Chinese film industry is not yet fully mature, and the preferences of domestic audiences are also unstable. Therefore, film is still a very risky investment, and Wu Jing cannot avoid it. But his investment case proves that if filmmakers want to be successful at the box office, they must better understand the potential needs of mainstream audiences, subtle changes in public opinion, and new trends in popular values. In the commercial field, the first person to dare to eat crab bears the greatest risk, but he may also be the biggest winner. The film industry is no exception.
Objectively speaking, the overall production level of the "Wolf Warrior" series and "Wandering Earth" has not yet reached the internationally leading level, but they are indeed the domestically produced movies that are most willing to spend money on quality and have the highest quality. Wu Jing must value this, not the so-called "star content". This is in sharp contrast with those domestic "traffic star" movies that only pursue the eyeball effect and do not care about film quality.
The Chinese film market needs more investors who dare to innovate and experiment like Wu Jing, not those speculators who will only make trouble in the capital market and make money by speculation, and even more need to support art films like Andy Lau even if they don’t make money. Protector of the development of film ecology. Only when there are more people like this can the future of the Chinese film market be better.
