He operates overseas and receives a lot of attention from the embassy. I won’t go into details about this. The key is that his operations are also diversified.

He made a silent contribution in the restaurant, but at the same time he made money through cultural export.

If you calculate the comprehensive accounts, he still made a lot of money.

First of all, in December, the TV series "Dream of Red Mansions" ended with a ratings of 23%.

Such good results not only broke the highest ratings record for foreign TV series broadcast in Japan, but also drove the sales of "Dream of Red Mansions"-related products in Japan.

Even other domestic dramas brought to Japan by Ning Weimin suddenly received the attention of TV stations due to the instant success of "Dream of Red Mansions".

For example, Fuji TV took the initiative to contact Ning Weimin through Shochiku Pictures and proposed the possibility of cooperating with him in introducing domestic dramas from China.

This gave Ning Weimin an additional choice besides TBS TV station.

Moreover, Ning Weimin himself did not expect that the "Dream of Red Mansions" TV series music album tapes and related handicrafts would be completely sold out so quickly.

Even the Japanese version of the novel and comic book "A Dream of Red Mansions" has been sold out, to the point where a second edition needs to be reprinted.

As for the TBS TV station, they happily decided to continue to purchase "Nurhaci" and "Wu Song" from Ning Weimin at a price of one million yen an episode to continue this cooperative relationship with him.

In addition, more than a dozen local TV stations affiliated with TBS have offered a price of 250,000 to 300,000 yen per episode for the rebroadcast of "Dream of Red Mansions", which far exceeded Ning Weimin's best expectations.

If you include the sales of the "Dream of Red Mansions" video tape, Ning Weimin has not only recouped his investment in promoting the TV series "Dream of Red Mansions", but also earned US$2 million, a full five times profit.

The key is that this kind of profit continues to run and does not end here.

This is the benefit of the cultural copyright business. It is not affected by any market risks. As long as people are willing to watch it, they can make money.

From now on, everything is completely pure profit, and it is just a matter of lying around and counting money.

This is not the end yet. Similar to the TV series, Ning Weimin also gained huge benefits in terms of film copyrights.

Since "The Old Well" won the Feature Film Grand Prix at the 2nd Tokyo Film Festival, it directly boosted the box office of this movie.

Although it cannot be compared with Japan's mainstream commercial films, through several cooperative art independent cinemas and Shochiku Pictures, they have successively added several theaters in other major Japanese cities, and still within the twenty-day broadcast period

, which took in a box office of 88 million yen.

If theater income and taxes are deducted, Ning Weimin can get about 35 million.

That's about $300,000.

Although this amount of money is nothing to Ning Weimin, it is a huge profit for domestic film production units, at least enough for them to make ten movies.

Therefore, for this movie, Ning Weimin did not intend to take away half of what he deserved according to the agreed contract.

He called Wu Tianming and decided that in addition to leaving 100,000 US dollars for China Film Company, all the money would be transferred to the Xi'an Film Company to support the production of domestic films. He hoped that the Xi'an Film Company could produce more excellent films and suggested

Share a portion of the proceeds to the creative staff of "Old Well" to promote the production of excellent domestic films.

When he learned the good news that he could actually get two hundred thousand US dollars, Wu Tianming was so happy that he wanted to thank Ning Weimin for a drink on the phone.

Nothing else. He promised that he would live up to Ning Weimin's expectations. He said that with this money, the Xi'an factory would have at least five more film production plans next year, and the completed films would be Ning Weimin's priority.

But I don’t know whether it was intentional or unintentional, but he had no way to distribute the profits to the main creative staff.

In this regard, Ning Weimin should not interfere too much. After all, he was just a suggestion.

And it has to be said that with "Old Well" at the bottom of the list, other domestic films have also increased the confidence of Japanese theaters.

Japanese cinemas are already not only optimistic about the French film sources in Ning Weimin's hands.

Like "Old Well", which was released next to "Old Well", Chen's comedy "Fathers and Sons" received much better theater resources than the initially negotiated conditions, with only three fewer independent theaters than "Old Well".

Although the artistic style of this comedy film imitating the "Man's Pain" series is not very high, the material is close to the urban life in the current Chinese capital, and the comedy style is quite consistent with Shochiku Pictures, but it does not have much cultural appeal to Japanese audiences.

obstacle.

It actually received a good response after it was released, especially in several theaters in the Songzhu Cinema chain, and the box office was also good.

It is expected to sell for 60 to 70 million yen.

Ning Weimin could imagine that if he could bring back one hundred thousand dollars to Chen Peisi during the Spring Festival, it would be enough for "Chen Xiaoer" to smile from ear to ear for a year.
Chapter completed!