Chapter 395: Deeply Cultivating the Korean Drama Market

Make more friends and fewer enemies.

This is the strategy Wu Yuan set for Guangying Kuaibo to go overseas.

Guangying Kuaibo is not Netflix. With the hegemony of this planet behind it, it can act recklessly and eat alone.

If Guangying Kuaibo wants to develop smoothly overseas, it must share profits.

In South Korea, it can cooperate with the local CJ ​​Group, in Japan, it can cooperate with Toho Co., Ltd., and in Southeast Asia, it can also make money together with large conglomerates in Singapore or Malaysia.

Only in this way, the local conservative markets of these countries will allow Guangying Times to enter.

"In Korea, I have signed an agreement with CJ Group. In the future, the Korean branch will produce at least two Korean dramas every year."

"We can cooperate with local Korean production teams, or we can produce independently, but the TV broadcast must be broadcast exclusively on tvN."

"I have instructed the Korean branch to find a good Korean screenwriter team as soon as possible and reach a long-term cooperation agreement with them."

"Kim Eun-sook, a well-known Korean screenwriter, is willing to cooperate with the company to produce her new drama "Secret Garden". The specific details are still under negotiation."

Chen Dewei, the general manager of Guangying Kuaibo and an executive poached by Wu Yuan from YouTube, said: "As for the Japanese and Southeast Asian markets, preparations are already being made, and cooperation will officially begin next year or the year after next."

"The company is already working on the scripts of "5 to 9" and "Hanzawa Naoki". According to the plot outline given by Director Wu, we will improve it as soon as possible."

"As for Southeast Asia, we will not produce local dramas in Southeast Asia. It is enough to export these Japanese dramas, Korean dramas, and domestic dramas such as "Soul Ferry" to the Southeast Asian market."

"Well, I am at ease when you do it. "Wu Yuan half-squinted his eyes and nodded in response.

In Korea, the person who has the most say in the field of TV dramas is not the director or the actor, but the "screenwriter teacher". In the Korean TV drama crew, the rights of the screenwriter are equivalent to those of domestic film directors.

The investment is given to this screenwriter. The screenwriter can decide who to find to act, who to find to direct, and which TV station to sell to in the end.

The reason for this is the result of the natural development of the Korean TV drama industry.

Since the 1980s and 1990s, Korean TV dramas have often relied on excellent screenwriters to write good scripts, thus becoming popular overnight and even popular in Asia.

After the new century, many excellent screenwriters have emerged to support the Korean TV drama industry.

For example, they wrote "Chunhyang the Great", "You're Beautiful", "My Girlfriend is a Gumiho", "Master's Sun", "Hotel Del Luna", etc. The Hong sisters of TV series.

For example, Kim Eun-sook, who is going to cooperate with Guangying Kuaibo this time, is a great Korean screenwriter.

Later, "Gentleman's Dignity", "Heirs", "Descendants of the Sun", "Dark Glory", and even "Goblin" copied by Wu Yuan are all her works.

As long as Guangying Kuaibo can sign a few good screenwriters in Korea, there is no need to worry about the subsequent annual output efficiency.

Without saying too much, it is still no problem to make three or five Korean dramas a year.

After all, it is cheap to make TV series in Korea. The money for making one in China can be used to make at least three in Korea.

Even if Chen Dewei has no memory of the future, he can grasp this point with his vision.

Elites are elites. Even without Wu Yuan, he can still find the best way for Guangying Kuaibo to develop in Korea in a fog.

"Let's slow down for Japan first." But Wu Yuan thought about it and decided not to be so anxious.

"If the market in Korea can be opened up by "Goblin", we should strike while the iron is hot and focus on the Korean market in the next two or three years. ”

“It’s not too late to explore Japan after two years.”

The “5 to 9” and “Hanzawa Naoki” he gave to the company’s screenwriting department are both TV series that appeared in Japan after 2012, so there is still plenty of time and no need to rush.

Besides, Wu Yuan still has dramas such as “Unnatural Death” and “Escape is Shameful but Useful” in his mind, so there is absolutely no problem in exploring the Japanese drama market.

Wu Yuan is just afraid that Chen Dewei will spread his stall too wide at once, and accidentally collapse the multi-line operations, which would be a good hand of cards played badly.

“The Korean and Southeast Asian sites can operate simultaneously. Anyway, the Southeast Asian sites only need to do publicity and promotion, and do not need to make local self-made dramas in Southeast Asia.”

“But for the Japanese market, let’s postpone it for now and take it step by step.”

Chen Dewei still has to listen to the words of Wu Yuan, the big boss and industry leader.

“I understand.” He adjusted the frame of his glasses and promised: “I will focus on the Korean and Southeast Asian markets in the next stage of work. ”

“For Goblin, the Korean dubbing will be completed in another month. tvN hopes that the show can be scheduled to air in October.”

“As you know, Korea is popular with the production method of shooting and broadcasting at the same time. Our method of shooting the whole show before broadcasting is already very slow for them.”

“This is the first time we have no experience. Next time the company makes a Korean drama, we will also introduce this system of shooting and broadcasting at the same time. This can shorten the production cycle and modify the subsequent script at any time according to the audience's feedback.”

The shooting and broadcasting mode is a major feature of Japanese and Korean TV dramas.

Wu Yuan is also envious of this.

This is a good system for both parties.

For the audience, they can watch the new episode in the most timely manner and follow the latest episodes in real time. The crew just finished filming last week, and the latest episode will be online next week. Don't be too happy.

For the production company, this is also a good thing. After all, it shortens the production cycle, and it can generate profits while filming and broadcasting, and shortens the company's investment collection cycle.

If the ratings are not good, the subsequent episodes can be directly cut to reduce losses.

If the ratings are good, the plot direction can also be adjusted in time according to the audience's feedback.

Like the popular Korean drama "Reply 1988", it is to adjust the love line of the protagonist group according to the audience's feedback while filming.

Even the love line of the heroine Deshan was not finally determined until the finale, which filled the audience with expectations and made the ratings rise steadily.

Unfortunately, this kind of good system is almost impossible in China. Even if Wu Yuan becomes a member of the XX committee and proposes proposals every day, it will be useless.

Our great China has its own national conditions!

"Shooting and broadcasting at the same time is indeed a system that is very beneficial to the production side." Wu Yuan nodded with a smile: "Let's do this starting from the next drama."

"If the cooperation with Kim Eun-sook can be achieved, "Secret Garden" will definitely be shot and broadcast at the same time. It just so happens that our Korean team can also learn from Kim Eun-sook's team how to play this system of shooting and broadcasting at the same time."

When Netflix went to Korea to make "Dark Glory", they all followed the local customs and did it while shooting and broadcasting. Why should Wu Yuan stick to the set of producing first and then broadcasting?

"Now we just have to wait for "Goblin" to be broadcast."

Wu Yuan sighed and patted his thigh: "As long as this drama can be successfully popular in Korea, our overseas strategy will be half successful!"

"The future is bright!" (End of this chapter)