money player

In 1950, the Australian population was about 818 million, the total box office was about 300 million Australian pounds (336 million US dollars, 1915.2 Hong Kong dollars), the price of movie tickets was between 1.2 Australian pounds and 1.5 Australian pounds per ticket, and the number of moviegoers was about 220 million.

In 1950, the population of Hong Kong was about 211.5 million, the total box office of movies was about HK$195 million, the average price of movie tickets was HK$1.35, and the number of moviegoers was about 145 million.

Australia produced a total of five films last year, three low-budget films and two documentaries.

There were about 452 films produced in Hong Kong (not accurate, as data on Chinese-language films is lacking). Ignoring Western films and taking the average, the Hong Kong box office of each film was about HK$4300. Last year's local box office champion was "Pearl River Tears", with a box office of HK$28. Together with some films with box office between HK$5 and HK$10, they accounted for at least half of the local box office.

This reveals a problem. Without the Nanyang box office, about 90% of the films produced in Hong Kong would have no future. Anyone with a forward-looking vision can be sure that Hong Kong films have no future at this time. There is no need to dream of long-term plans. Just keep your feet on the ground and focus on the present, earning as much as you can and making as much money as you can for as long as you can.

Precisely because the myth of Eastern Hollywood is quite difficult to write, Xian Yaowen wants to attack from all sides and build distribution channels everywhere. Only in this way can he have the opportunity to infinitely increase the valuation of Friendship Pictures and sell it for a good price in the future.

Now, he has set his sights on Australia, the virgin land of the film industry, and plans to restore the glory of the total box office of 1939 million Australian pounds in 1300, revitalize the local Australian film industry, and rewrite the shameful data that local films only account for 1% of the box office.

The reason why Australian films did not develop is mainly because they lost the opportunity in the silent film era and missed the best development period from 1910 to 1525. The film industry declined, and the expanding American and British production companies took over the Australian distribution and exhibition chains. Australian characteristics were often excluded from cinemas.

At present, more than 90% of Australia's screens are controlled by Hollywood, which is very unfriendly to Australian local films. It will not take the initiative to schedule screenings for local films, and will only fulfill the Australian government's regulation that "for every ten imported films released, one local film must be released."

But what's funny is that even with such a small opportunity, Australian film companies couldn't grasp it and were unable to produce any movies that could absorb box office revenue. Their performance was quite poor. The Australian government thought that its own people were all useless and just said fuck them. They were too lazy to support them and let them do whatever they wanted.

At this time, Caroline Duncan flew from London to the Gold Coast of Queensland to prepare to set up the Australian branch of Auld, "Auld Queensland".

It was almost nine o'clock in the evening in Sydney, but Caroline was not resting. She was working on the first project of Odd Queensland - buying a house.

In 1951, the annual income of low-income Australian men was approximately between 500 and 600 Australian pounds. Due to gender inequality, women's income was about half of that of men, and the price of an ordinary house was about 3000 Australian pounds. As long as a woman had a job, she could buy a house with ten years of income, while men would need half the time.

There is no doubt that Australia's housing prices are relatively low, and the property-related tax rates are not high, which is very suitable for investment. Buying a house for rent can earn rent while pushing up the fixed asset valuation of Ord Queensland and preparing for future loans.

Although Friendship Pictures has been launching one project after another, the company's working capital is actually not abundant. Up to now, the company's largest income is still from its original film speculation. Most of the income from the most profitable "God of Gamblers" project is still in the status of accounts receivable.

Caroline only brought 10 US dollars to Australia, which was taken out from the 20 US dollars borrowed from Odd Queensland. This 10 US dollars was needed to do a lot of things, and the money was definitely not enough. Odd Queensland would have to live a hard life of borrowing new debts to repay old debts for several years.

Friendship Company.

Yuan Wenhuai is still working overtime. Friendship Pictures is going to organize a "Taiwan Tour" event, bringing films and stars to Taiwan for a good show, and then take the opportunity to establish a "Friendship Taiwan" branch in Taiwan.

It is foreseeable that Taiwan will soon become an important box office for Hong Kong films, but the times have changed. Friendship Pictures no longer needs to put all its bets on Tong Yuejuan. As things stand, Friendship Pictures still has the opportunity to become a bridge for Hong Kong films to enter Taiwan. The investment from Tong Yuejuan cannot be cut off, and efforts must also be made on their end.

The films to be brought are easy to choose. The "Nameless Flower: Life and Death" selected by Xian Sheng has been completed and has not been released yet. This film was made specifically for Taiwan, so it is natural to bring it over, and the premiere ceremony may be held in Taiwan.

You can bring "Once Upon a Time in China" and "Ben Ming Nian" in memory of Li Qianyan. You can also bring copies of the others, but you don't have to take them out. Taiwan has too strict requirements on movies. They are supposed to be entertainment, but they insist on educational significance. They use so many rules and regulations to box in filmmakers. It would be strange if they could make a good movie.

After circling the film, they started circling the stars.

Li Mei and Zhang Yang, as the eldest brother and sister, must go; Cui Yinji is Korean and has certain political significance, so Taiwan will welcome her to go; Zhang Zhongwen and Yi Guang were originally recruited by Taiwan, so they must also go.

Yuan Wenhuai took the roster and circled the names one by one. Each name was drawn according to the needs of the company and he did not dare to show favoritism. Although Xian Sheng did not take much care of the company's affairs, he knew the operation very well. When the list came into Xian Sheng's hands, he could tell what was going on at a glance.

Sometimes he couldn't help but sigh that following a shrewd boss was both easy and difficult. The easy part was that one's efforts could be seen, but the difficult part was that even his little actions could not escape the boss's eyes.

He really wanted to slap himself twice. He boasted in front of Xian Sheng that their love was "stronger than gold", but he still couldn't help but fall under Sima Yin's spell.

Actually, it's not his fault. The temptation was just too great. He did a good job by being able to hold out for so long before giving in.

It's just that Sima Yin is such a difficult woman. I want the company to make a movie with her as the leading actress, but how is that possible? The company has to conduct predictions and evaluations for every project, and the leading role is not decided casually.

"Wen Huai, I'm here to bring you food."

Yuan Wenhuai looked up and saw his Xihua standing in front of him with a thermos box. He said with a mixture of heartache and self-blame, "I told you not to send me food. It's such a long way and we have to cross the sea. I can just eat something by myself."

"Food outside is not as delicious as the food at home." Zou Xihua opened the thermos box and presented the treasures, saying, "These are all your favorite dishes."

Yuan Wenhuai glanced at the incubator and said, "Don't stay here. I'll be done soon. Let's go to the rooftop."

"it is good."

Zou Xihua closed the opened thermal box again.

Su Lizhen sat in the car, playing with a tin frog in her hand.

She wound up the tin frog and placed it on the seat. The tin frog jumped forward again and again, making a croaking sound with each jump.

Take another tin frog and do the same thing. It will make a buzzing sound when it jumps.

The first kind of call is the continuous croaking of frogs on sunny days in summer, and the second kind is the hissing on rainy days. The basic meaning is conveyed, but there is still a big difference from the real calls of frogs.

Picking up the two tin frogs and looking at them for a while, Su Lizhen took out a notebook to record the points that needed improvement.

The Tin Frog was sent from a toy factory in Shanghai. It was a product commissioned by the Hong Kong Doll Company. Tongqu designed a sound-making device based on the original Tin Frog and registered a patent, preparing to use the Tin Frog as the company's first flagship product in the field of clockwork toys.

After recording, Su Lizhen picked up a bag from her feet, reached in and took out a few celluloid building blocks. After just a glance, she put the building blocks back into the bag. The quality was too poor. It seemed that plastic building blocks could not be outsourced in the mainland.

He put the bag down, picked up a new bag, took out a few wooden building blocks, gently stroked the faces and corners with his hands, and then checked the paint... Every detail was good, but the material was not very good, because basswood was used instead of beech.

I took a triangular building block in my hand and weighed it, and thought that basswood did have its merits. It was light and low cost, and more suitable for children who had not yet learned to walk. The only problem was that the paint and wood had to be tested. Children like to put everything in their mouths, and if they were poisoned by this, they would suffer heavy losses.

After writing a few more lines in the notebook, Su Lizhen closed the notebook, closed her eyes and listened to "Dream Chaser" on the radio.

She couldn't believe that this song was actually written by her husband. A sentimental man wrote a passionate song. Perhaps there was a woman in her heart who was no longer with us, so the song was deeply engraved in his heart.

There's a movie showing outside the convenience store today, an old one.

It started with listening to the radio, then impromptu performances were added, and now there are two movie screenings every week. The downstairs of the Xian family is becoming more and more lively.

Xian Yuzhen rarely relaxed and sat in the third row to watch an old movie that was older than her.

Camilla and Aisha sat on her left and right respectively. Camilla held a Ding Ding candy in her hand and licked it from time to time with her tongue, her eyes glued to the screen. Aisha held a pair of raw peanuts in her hand and put them into her mouth one by one.

Both of them were dressed very coolly, in vests, shorts, and flip-flops, with wet hair. They had just taken a shower a few minutes ago, but were reluctant to dry their hair. Both of them liked the wet feeling, and it was nice to have the water free to use.

Xian Yuzhen was holding another one in her arms. Her niece, Xian Renmei, had her eyes wide open, staring at the screen intently, as if she understood what was going on.

Cen Peipei stood at the window with a cup of coffee, looking out at the cultural scene downstairs. That was where Xian Yaowen often stood. She seemed to have grasped her master's perspective, hiding in it, observing from the outside, and looking down at the world from a God's perspective.

What are they thinking? What do they need? What can I do?
After a while, she withdrew her gaze and picked up the script "Lin Mo" on the windowsill. It told the story of Mazu before she became a deity. The master wrote the story outline, and the screenwriter of Friendship Pictures polished and expanded it. She played Lin Mo.

According to the master, if she could be portrayed as the incarnation of Mazu on earth, she would have unimpeded access to East Asian business circles.

The sound of footsteps was heard and Su Lizhen walked in front of Cen Peipei.

"I'm going to Guangzhou through the border tomorrow."

"doing what?"

"Go to the toy factory in Yangcheng to discuss OEM orders."

"Oh, be careful."

"gone."

Tseng Pei-pei and Su Li-zhen are no longer as incompatible as they were in the past. With the women coming one after another, it is not an either-or situation. What is the point of fighting anymore? It is better to maintain harmony, do their own things and live in peace.

Izakaya.

Wu Huoshi saw that Xian Yaowen and the two hostesses seemed to be chatting enthusiastically, but he didn't see Xian Yaowen's hands wandering around the two women. He felt that Xian Yaowen looked down on the hostesses, so he clapped his hands lightly and summoned the secret weapon he had prepared. (End of this chapter)