Printing in cinema – The economic mechanism of the market

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OUR Hollywood print have always been one of the most piquant rarities of the world cinema scene. Aside from the dream of becoming a star (be it an actor or an actress), the earnings from the industry revolving around the seventh art are of ever-increasing interest.

It will be that the news about John Travolta who built an airstrip near his home amazed everyone, perhaps because the most unbridled vices of the elite have huge media coverage. In a word, movie posters are the basis of news related to the world of entertainment.

From a beggarly salary (yes, even about seven hundred dollars) to twenty million (one of the highest ceilings in history), movie advertising covers a wide range of products and does not always meet a single criterion.

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Your eyes widen when you read certain numbers and think about the strikes going on in this Hollywood. Of course, the protest itself is more related to the industry as a whole (and not to individual compensation).

What is clear, however, is that the streaming world seems to have revolutionized payroll (for the worse). The world is constantly looking for products, manufacturing companies are trying to give them products, and insiders are “forced” to work twice as much for the same pay as before. Immutable capitalist law.

Although it wasn’t always like that. It is interesting to understand how the dynamics of the hiding place works, what is behind the clause of the contractual agreement. Before us stands a whole series of quantitative data that leave the time they find.

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Rock For Black Adams he earned about twenty-two million dollars. Jennifer Lawrence For Passengers reached the winds and the good old Leonardo DiCaprio touched that pinnacle for some time (moreover, cementing it as a paycheck habit).

But how covers actually work in the film world. What is the logic behind this? What actually led to these much-discussed strikes?

Prints in Film – Inversely Proportional Relationships

To start thinking about print in cinema, we can start with a perfectly relevant example that can help us understand what rationale followed. Jonah Hill in 2013 took part in the filming The wolf of Wall Street. The celebrity of the film relaunched Hill’s career (or perhaps the term embellished is better used).

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According to rumors, the actor said that, working with Martin Scorsese, he would like his fame to decrease significantly. Even participate for free.

Quickly done, after learning about all this, the production offered a salary of “only” sixty thousand dollars. It may seem that the salary is low and poorly measured by the scale of the product. But that’s where he hides there the logic of stamps in the cinema.

Being part of a great director or producer’s new film is already a form of reward. Visibility, raising the bar and the quality of the script help shape an actor’s career. You don’t need a lot of money. The project is so big that it will definitely be seen in cinemas.

You don’t need to convince anyone. Anyway, this is the one who should say thank you.

The discourse regarding i is partially different for i blockbustersthose films for everyone, which are almost an antagonistic element in relation to purely auteur films.

There are no special requirements for the script. Seal is formed on the basis of fame, not just acting ability. Therefore, the choice will fall on the one who can shift the balance of the presence of viewers between the box office and social networks.

Big projects designed for the world of streaming attract so many audiences that one thinks more of a superstar than a good performer. Thus, the press is measured by the engagement that he or she manages to guarantee.

The mother of the example of all this great economic factory is red noticethe Netflix movie with the highest cinematic value. Rock received twenty-three and a half million dollars. And he is clearly not one of the best actors on the planet.

However, his charisma and ability to adapt to the scene made him the highest paid ever.

In conclusion, we can say that the authority of the actors is inversely proportional to the economic income that the film brings. It is understandable that this is perceived as incoherent logic, but in fact, even in cinema, one must begin to remember the difference between artistic content and a marketable product.

Movie print royalties are part of the production balance that film companies must account for. If the stakes are high, discourses of a purely economic and non-artistic nature are of great importance.

For this reason, for example, in the cinema, the ability of character actors to be eclectic is highly valued. The highest fees are actually for those who know how to delve into all the roles. Johnny Depp this is one of them.

Quality and eclecticism coexist to make the covers quite intense. The rest is entrusted to important economic elements, but side by side with an artistic calculation that will always matter, if not in the heart, at least in the wallet.

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