This article from the burning of Finance (ID: rancaijing) Original author: Zhao Lei, editor: Wei Jia, title figure from the visual China.
“This may be the last drama filmed by the company.” Xu Huan’s tone was both exhausting and a little frustrating. He had been busy for a week for the crew to resume work and filed a record, formulated an epidemic prevention and control plan, and prepared enough For the epidemic prevention materials, according to the safety resumption guidance issued by the film and television base where the crew is located, one by one to ensure that the standard is met, “If you do not resume work, you really cannot support it.”
Xu Huan is the executive producer of a Beijing-based film and television production company. In December last year, he took the crew to a film and television base. He planned to kill in March, but affected by the epidemic, the whole crew stopped shooting for two months. More than a hundred people are on the spot, and the crew ’s wages and room and board costs add up to 200,000 per day. With the addition of equipment, props, venue rental fees and other air consumption costs, the two-month shutdown loss reached tens of millions yuan.
What is more frightening than the loss is the uncertainty of the future. Under the epidemic, the upstream production company is short of funds, and many projects have the risk of dying. The export platform and the theater line, the former is deeply mired in losses. The purchase budget was further reduced, and the latter was unable to open its doors, and the entire film and television industry was in trouble.
For Xu Huan and his company, it is unknown whether they can resume work and film the show at hand, whether they can repay the money as soon as possible, and whether they have funds to prepare for the next project.
Before the epidemic, the film and television industry experienced a one-and-a-half year period of inventory deregulation. The number of project filings, start-ups, and distribution approvals all declined sharply. No projects were done, the production company closed, and the supply of upstream and downstream practitioners was in excess of demand. Some were unemployed and some changed jobs. Many people persevered with perseverance and waited for the industry to recover, but I did not expect to wait for the frost.
On April 15th, a proposal from the China TV Drama Production Industry Association and the Capital Radio and Television Production Association called on the entire industry to practice economy, overcome difficulties, standardize industry order, and further clarify the number of control projects and reduce personnel And the cost, the goal of managing the ills of the industry, also indicates that the winter will continue.
The independent screenwriter Zhang Huaying last sold the script in early 2019. She can only rely on her constant creation to give her a little sense of security, but I do n’t know how long it can last; martial arts director Zhao Hongfei has been at home for three months. He is waiting for a phone call every day and waiting for opportunities; Cai Zhe, the head of a film and television base, has fewer and fewer WeChat groups, and the resume crew strictly controls the number of group performers. Their livelihood is difficult to maintain, and many people make a living.
The epidemic accelerates industry reshuffle, but this is far from