Sometimes, people's motivations are driven by profit. The director contract Murphy signed with 20th Century Fox included the highest revenue-sharing terms in Hollywood today. The profit sharing encompassed not only box office earnings but all potential income sources the film could generate, which is why he was so enthusiastic about the concept of a big movie industry.
In the initial project proposal Murphy submitted to 20th Century Fox, he proposed expanding the film's offline industry into a broader range of sectors.
As a result, theatrical releases and box office numbers would become just one of the promotional tools for the film, serving as the best advertisement for the marketing and promotion of various industries under the big movie concept.
In fact, it wasn't just Murphy and 20th Century Fox; contemporary Hollywood blockbuster commercial films often aimed merely to break even at the box office, with real profits coming from outside the theater.
It's well known that a commercially successful blockbuster in the North American market can typically license around 100 or more companies to produce derivative products.
If it's a classic series or an adaptation of a bestselling book, the variety and number of derivatives will be even greater. For instance, in 2011, 37 of the most popular movie characters in the North American market, including Mickey Mouse, Winnie the Pooh, and Hello Kitty, generated $15.3 billion in retail revenue in the US and Canada alone, averaging $413 million per character.
The systematic development of post-movie products is both urgent and strategic, with vast economic resources to be tapped. Whoever captures this advantage can reap enormous benefits from the post-movie product market.
Box office revenue is just one part of the "big movie industry," and not even a significant one. The film industry should be a field with a long and broad industrial chain, allowing for in-depth, repeated development. Much like the tourism industry, it's no longer about earning ticket money through headcount but about exploring the potential of catering, accommodation, transportation, shopping, and entertainment, evolving into an "industrial economy."
As some analysts say, added value is the most "valuable" value. For example, novels as leisure reading should be "entertaining," while practical books need to be "useful." Ideally, novels should be "useful" while being entertaining, and practical books should be "entertaining" while being useful.
The film industry is the same. Post-movie products are as "valuable" as movie products, if not more so.
For instance, when Murphy lived on the other side of the Pacific, there was a widely circulated saying: Wang Lao Ji sells not just herbal tea but "heat relief"; Brain Platinum sells not just supplements but "gifts"; Starbucks sells not just coffee but "leisure"; McKinsey sells not just data but "authority and expertise"; Rolex sells not just watches but "a sense of luxury and confidence"; Ferrari sells not just sports cars but an almost insane driving pleasure and nobility. Hence, consumers purchase not for the product or service itself but to satisfy certain needs or desires.
By May 2012, another summer season had kicked off in North America. Marvel Studios' long-planned blockbuster, The Avengers, dropped a bomb on the North American film market, grossing nearly $210 million on its opening weekend, shattering all previous North American opening weekend box office records.
It set records for the highest opening day box office, fastest to $100 million, fastest to surpass $150 million, fastest to reach $200 million, most screenings on opening day, highest IMAX box office for the first weekend, and more.
The Avengers became the first film in North American history to surpass the $200 million mark in its opening weekend!
The power of superheroes joining forces made all Hollywood studios envious, marking the most glorious period for comic book movies.
"DC and Warner Bros. must be crying now."
In the warehouse set's rest area, Kara Faith took a sip of coffee and said to Murphy across from her, "DC's superhero movies had such a promising start, yet they are now easily crushed by Marvel Studios. Their decision-makers should be thrown into the Pacific to feed the fish."
Murphy put down the hand resting on the chair and said, "I heard The Avengers not only exploded at the box office but also received very strong reviews."
"Yeah."
Sitting to Murphy's left, Gal Gadot nodded, "The Avengers is probably the best-reviewed superhero movie since the turn of the millennium."
Kara Faith set down her coffee cup, "Joss Whedon did a great job blending a group of mismatched characters, especially Thor."
"You saw it?" Murphy asked.
"I went two days ago." Kara Faith shrugged, "I think the film is as good as it gets."
She tapped the armrest of her chair and said, "The power of a superhero team-up is huge. The X-Men universe should have a bright future as well."
"Just one thing!" Murphy reminded, "Don't be like Marvel, refusing to kill off any hero for the sake of a family-friendly atmosphere, and don't make the villains weaklings. 20th Century Fox is not Disney."
Disney excels at family-friendly content, where almost every major villain in Marvel films ends up being more talkative than powerful.
Such films may have a market, but watching too many of them can get tiresome.
However, Disney's positioning of Marvel superhero films as teenage popcorn flicks means they are essentially not meant for adult audiences.
"Has Warner Bros. contacted you again?" Kara Faith suddenly asked Murphy.
"Yes." Murphy took a sip of coffee and said unhurriedly, "But I turned them down. I don't have time to direct DC superhero films right now."
His plan was already in motion and couldn't be halted for Warner Bros. and DC superhero movies.
"Murphy has turned them down so many times that Warner Bros. has given up hope." Gal Gadot sighed, "They're preparing to make a Wonder Woman standalone film and have reportedly started casting for a new Diana Prince."
Though she had little interest in acting in movies, Wonder Woman was the only role she had played, so she felt somewhat conflicted.
"I know about that too," Kara Faith seemed to have insider information, "Rumor has it Warner Bros. wants Brie Larson to be the new Wonder Woman."
"Brie Larson?" Murphy thought for a moment and then shook his head, "What are the people at Warner Bros. thinking?"
Did Warner Bros. and DC Comics' decision-makers get hit with a stupidity curse?
In terms of acting skills, maybe ten Gal Gadots couldn't compare to one Brie Larson, but Wonder Woman requires more than just acting, and acting isn't even the most important factor.
Kara Faith clearly understood this too and shook her head, "No one can figure out what Warner Bros. decision-makers are thinking."
"Alright, let's stop talking about this." Murphy checked his watch and stood up, "Break time is over, let's head back to the office."
"Okay." Kara Faith stood up and, seeing Gal Gadot still seated, asked, "Aren't you coming?"
"I don't know much about viral marketing. You and Murphy can handle it." Gal Gadot checked her own watch, "I also have a meeting with third-party guarantors later. Next week's budget isn't finalized yet."
Kara Faith knew third-party guarantors were tough to deal with, so she said nothing more and followed Murphy to the office ahead.
However, she was well aware that no matter how closely 20th Century Fox worked with Murphy, they would never give up third-party supervision.
"Never look down on others from a moral high ground, and never test human nature. Murphy comes from the slums; how could he not crave money…"
This was something Kara Faith once overheard James Murdoch say.
As a longtime friend of Murphy, Kara Faith knew well that Murphy had a sufficient desire for money. Although it wasn't exactly as James Murdoch described, it wasn't necessarily a bad thing for both parties.
Putting delicious food in front of a glutton or having a beautiful woman flirt with a young man—the outcome is predictable. For a virtually unsupervised official, giving them emperor-like power while expecting them not to crave money and women is pure fantasy.
For ordinary people, everyone cares about something and has a selfish side. Almost no one can selflessly give to others without expecting any return.
In Murphy's office, Kara Faith quickly and Murphy discussed the upcoming viral marketing plan, which soon moved into the implementation stage.
In late May, fans discovered what appeared to be a new website for "Dark City." On this site, the Magician was recruiting members for his gang. A countdown showed how many hours were left until "Dark City" would be unveiled at Comic-Con in San Diego. Additionally, there was an image showing the coordinates of the event location.
The site continued to update, featuring images like Margot Robbie's character, Jay Rachel, ready with a gun, surprising many fans who remembered the character as a seemingly fragile woman.
Furthermore, the film's official website posted an internal file from the NYPD investigating the "Magician."
On June 30, a website called "Rent a Magician" appeared, featuring photos of people dressed as the Magician, clearly serving as a precursor to the film's next round of promotions.
With preparations going smoothly, Murphy was ready to begin filming right after attending San Diego Comic-Con.
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