我们将深入探讨宝莱坞产业,探索它如何在面临经济挑战的情况下发展壮大,以及该产业根深蒂固的文化意义｡了解 "口红效应"如何在艰难时期保持娱乐业的蓬勃发展,以及为什么在林迪效应的支持下,人类对故事的追求是永恒的｡我们将深入探讨宝莱坞不断变化的格局,从天价演员片酬和破碎的单元经济到 OTT 平台和企业资金的影响｡
印度博主:研究了125 部宝莱坞电影的财务状况,深入探讨宝莱坞产业！
Join us as we break down the financial intricacies, historical funding sources, and the shifts post-2001. We'll analyze recent box office hits and flops, revealing the true costs and revenues. Plus, we'll uncover the lesser known factors driving up actor fees and the challenges of paid reviews and sketchy contracts.
与我们一起分析错综复杂的财务状况､历史资金来源以及 2001 年后的变化｡我们将分析近期的票房成败,揭示真实的成本和收入｡此外,我们还将揭示导致演员片酬上涨的鲜为人知的因素,以及有偿评论和草率合同所带来的挑战｡
Shaileshkawale
2小时前(修改过)
If underworld is out of bollywood (after 2001), then
1. Why do we still see pro islam and anti hindu movies?
2. Why do we still see pro pakistani and anti indian movies?
3. Why hasn't bollywood made a single movie in hindi language?
如果“犯罪集团”退出宝莱坞(2001 年之后),那么
1. 为什么我们还能看到支持伊斯兰教和反对印度教的电影?
2. 为什么我们还能看到支持巴基斯坦和反对印度的电影?
3. 为什么宝莱坞一部印度语电影都没有?
4. Why does bollywood still call urdu language as hindi language?
5. If you say bollywood makes movies common amongst people, how many indians use words "raqeeb", "shafakhana", "kaifiyat"? Just because people can understand a language, every language can't be called hindi.
4. 为什么宝莱坞仍称乌尔都语为印度语?
5. 如果你说宝莱坞拍摄的电影在人们中很常见,那么有多少印度人使用 "raqeeb"､"shafakhana"､"kaifiyat "这些词?不能因为人们能听懂一种语言,就把每种语言都称为印地语｡
Bollywood was, is and will be an urdu film industry until muslims vacate india because bollywood is run by islamists
宝莱坞过去､现在和将来都是乌尔都语电影业,直到穆斯林撤出印度,因为宝莱坞是由伊斯兰主义者掌管的｡
Ankitjha
11小时前
give money to the story writers, you can make box office hit even from an anime, the story is first, even an epic movie like bahubali had a good substance
把钱给故事编剧,即使是一部动画片也能创造票房佳绩,故事是第一位的,即使是像《巴霍巴利》这样的史诗电影也有很好的内涵｡
Yashkanodia
10小时前
Not just writers, cinematographers, designers, VFX artists, and all creators whose face are behind the camera.
不仅仅是编剧,还有摄影师､设计师､视觉特效师,以及所有在镜头后面的创作者｡
Guywithastet
9小时前
AI is going to make this a possibility. Content will now be king not stars and producers
人工智能将使这成为可能｡现在,内容才是王道,而不是明星和制片人!
Rdwibid
7小时前
The over budget movies are nothing but tax evasion techniques for black money mafia, You guys think it took 600-700 crores to make Adipurush?
超预算电影不过是黑钱黑手党的逃税手段,你们以为制作《阿迪普鲁什》需要六七百卢比吗?
Sanketjadhavar
6小时前
More important than story is screenplay and direction. Its the soul and body combination , both need each other. Look at films like maharaja with a very simple story, but screenplay elevates it to the next level.
比故事更重要的是剧本和导演｡这是灵魂与肉体的结合,两者都需要对方｡看看像《因果报应》这样的电影,故事非常简单,但编剧却将其提升到了一个新的高度｡
Neelinmact
3小时前
For Bahubali It was not about the story it was the visuals and it’s epic scale ,,
对《巴霍巴利王》来说,重点不在于故事本身,而在于视觉效果和史诗般的规模,
Ktkthakre
10小时前(修改过)
The best example I can think of is 'Laapata Ladies'. What a f***ing awesome movie! It didn't have flashy costumes, or out-of-salon-looking actors, or item numbers or songs with expensive sets, or steamy scenes or forced cheap humor/comedy. Nope. None of that bullshit.
我能想到的最好的例子就是《迷途新娘》｡这是一部多么棒的电影啊!这部电影没有华丽的服装,也没有貌不惊人的演员,更没有艳丽的歌舞､昂贵的布景､热辣的场面或勉强的低级幽默/喜剧,没有,没有这些狗屁｡
What it did have was a no-nonsense fresh story which was grounded in reality, great characters, talented actors, and a simple vision to deliver it with wholesome wit. That's what bollywood needs right now. A movie with a good story and decent production quality.
它所拥有的是一个朴实无华的新故事,它立足于现实,拥有出色的角色､才华横溢的演员,以及以健康诙谐的方式表达出来的简单愿景｡这正是宝莱坞现在所需要的｡一部故事精彩､制作精良的电影｡
Mohitvazira
9小时前(修改过)
hero worship destroy Indian cinema When the cinematography, editing, writing, sound, music, acting and direction come together, there is the potential for the film to be great.
英雄崇拜毁了印度电影,当电影的摄影､剪辑､编剧､音效､音乐､表演和导演结合在一起时,这部电影就有可能成为一部伟大的电影｡
Loknath
9小时前(修改过)
bollywood was always garbage because of mediocre story and poor filmmaking
宝莱坞一直都是垃圾,因为故事平庸､制作粗糙｡
MetalGearMk
10小时前
I dont understand why no films come up with new actors taking less money but with a good story, is it so hard
我不明白为什么没有新演员的电影,钱少但故事好,这有那么难吗?
KalyanPilla
7小时前
Who's gonna watch them without Shah rukh khan spreading arms in style in the movie poster???
如果没有沙鲁克-汗在电影海报中潇洒地张开双臂,谁还会看这些电影?
General
10小时前
Tamil and Telugu actors still have star power because those state people are still nuts about these stars. Like it or not it is ridiculous and non-sensical. The reason why it would not work the same in bollywood because the audience has matured and much more disenchanted... I hope all audiences mature and get rid of this non-sensical star worship
泰米尔语和泰卢固语演员仍然拥有明星效应,因为这些邦的人们仍然为这些明星疯狂｡不管你喜不喜欢,这都是荒谬和不合理的｡之所以在宝莱坞不会有同样的效果,是因为观众已经成熟,而且更加不感兴趣....我希望所有观众都能成熟起来,摆脱这种非理性的明星崇拜｡
SanjayGopi
10小时前
One Irrelevent addition: This one is regarding Bihari Movie Industry, Bihar has so many stories to tell, Stories of Valour, Glory, Oppression, loot, Stories of Indentured labours, opium cultivation, freight equalisation policy, Emigration, spectrum of social issues, corruption, political zombies, and things that relate to common Indian.
一个无关紧要的补充:比哈尔邦有太多故事可讲,英勇､荣耀､压迫､掠夺的故事,契约劳工､鸦片种植､运费平摊政策､移民､各种社会问题､腐败､政治僵尸的故事,以及与普通印度人相关的故事｡
Amandeep
10小时前
Every time a movie is a hit only the actors take the limelight, it's shown in movie awards as well... If it's an industry everyone involved in the movie deserves respect
每当一部电影大受欢迎时,只有演员才会成为焦点,这一点在电影奖项中也有所体现...... 如果这是一项产业,那么参与电影制作的每个人都应得到尊重｡
Ajatshatru
11小时前
It's a shame that the most diverse oldest surviving civilization which is literally land of stories, Indian Film Industry fails to capitalise on this.
印度是现存文明中最多样化､最古老的文明,是名副其实的故事之国,但印度电影业却未能利用这一点,实在令人遗憾｡
Neelsarkar
10小时前
It's so sad to see that script writers arent getting paid which is literally the backbone of movies and series but some hyped dude acting charging the highest and producers are fullfiling their demand... I mostly want and enjoy the movie because of the script and storytelling not because of someone acting in it.
剧本作者是电影和系列剧的支柱,但他们却拿不到报酬,真是太可悲了,但一些炒作的家伙却要价最高,制片人正在满足他们的要求……我之所以喜欢这部电影,主要是因为它的剧本和故事,而不是因为其中的演员｡
The audience also need to change their approach while watching a movie. I have some friends who watches even a shitty movie just becuase that actor played the lead role in it. To me this is what killing the industry and nothing else.
观众在观看电影时也需要改变他们的方式｡我有一些朋友,即使是一部很烂的电影,他们也会看,只是因为那个演员在里面扮演了主角｡对我来说,这才是扼杀整个行业的唯一原因｡
Tsminfinity
9小时前
for me bollywood was always cringe i don't like cheesy romance and melodrama
对我来说,宝莱坞总是让人崩溃,我不喜欢俗气的浪漫和情节剧｡
Meitantei_
11小时前
The reason why people aren’t going to theatres of indian movies is cuz most of them don’t provide any theatre experience. Few like kalki or srk movies like pathaan or jawan did provide and so they were hits. But comedy movies or akshay kumar movies don’t provide any theatre exclusive experience cuz I can watch those movies online or on tv as well and I won’t miss a theatre experience.
人们不去影院观看印度电影的原因是,大多数印度电影都没有提供任何观影体验｡少数像《毗湿奴降临》或沙鲁克·汗的电影,如《帕坦》(Pathaan)或《战士》(Jawan),确实给人带来了观影体验,因此大受欢迎｡但喜剧电影或阿克谢-库马尔(akshay kumar)的电影并不能带来任何影院独有的体验,因为我可以在网上或电视上观看这些电影,而且我不会错过任何影院体验｡
This is also reason why hollywood movies are still doing very well for eg seeing avatar in theatre will give you a different experience than watching it online. But watching movies like dunki online instead of theatre won’t make much of a difference and rather take more money to watch in theatre
这也是好莱坞电影仍然卖得很好的原因,例如,在影院观看《阿凡达》与在网上观看《阿凡达》会有不同的体验｡但在网上而不是影院观看《灌篮高手》这样的电影不会有太大区别,反而会花更多的钱在影院观看｡
Rohandesai
9小时前
Indian cinema problem is multifold. Some of the big changes that bollywood needs to do :
1. even if its remake, it needs some changes not an exact carbon copy.
印度电影的问题是多方面的,宝莱坞需要做的一些重大改变包括:
1. 即使是翻拍,也需要做出一些改变,而不是完全照搬｡
2. for people to be pulled to theatres, you definitely need star power, as against OTT where people watch it because there is no extra payment or effort needed to see it (if they like start, they will continue, else they can skip it without any penalty). Hence, movies need bifurcation, targeted for OTT (which can have lower budget and thus more focus on story, which many bollywood stars have worked in too) or theatre pull (balance of star cast and balance of story).
2. 要把观众吸引到影院,你肯定需要明星的力量,而不是 OTT,在 OTT,观众观看电影不需要额外付费或付出任何努力(如果他们喜欢开始,他们会继续,否则他们可以跳过,没有任何惩罚)｡因此,电影需要分化,是针对 OTT(预算可能较低,因此更注重故事,许多宝莱坞明星也曾参与过),还是针对影院拉动(明星阵容和故事的平衡)｡
3. ticket cost per person in theatres in metropolitan cities like Mumbai, bangalore are insane. Charging 500 + for a regular seat is not justified for same old story and action movie. This high paying public now demands more (and they see movie only if others in peer circle have given good reviews). Also family would not go for movie as spending 1200 - 1500 (2 adults, 2 kids) would not make sense for same old storyline and senseless actions .
3. 在孟买､班加罗尔等大都市,剧院的人均票价高得离谱｡一个普通座位的票价超过 500卢比,这对于故事和动作片来说是不合理的｡现在,这些高票价的观众要求更高(而且他们只有在同行圈子里的其他人给出好评时才会去看电影)｡此外,家庭观众也不会去看电影,因为花费 1200 - 1500(2 个大人,2 个孩子)观看老套的故事情节和毫无意义的动作片是不合理的｡
4. Actors are unnecessarily hyping up fees. Contracts now need to come as performance model rather than majority upfront. Even rajnikant had to reimburse producers when his movie flopped. Bollywood actors dont do that. And bollywood actors are much well off with brand deals, so movie earnings are not a source of survival income for them. So Actor fees have become more of an ego boost. And producers need to take a stand here, dont give such high fees for poor performers.
4. 演员不必要地抬高片酬｡现在的合同需要以表演模式签订,而不是预付大部分片酬｡即使是拉吉尼坎塔,当他的电影失败时也不得不偿还制片人的费用｡宝莱坞演员不会这样做｡而且宝莱坞演员都有品牌合约,所以电影收入并不是他们的生存收入来源｡因此,演员片酬更像是一种自我提升｡制片人需要在此表明立场,不要给表现不佳的演员如此高的片酬｡
Nitiz
11小时前
These stars are digging their own grave by charging huge fees. Ideally stars fees should be entirely based on films performance.
这些明星收取巨额酬金是在自掘坟墓｡理想情况下,明星的片酬应该完全基于影片的表现｡
VSV659
10小时前
Some pointers: 1. For Indians, going to a movie theater is often the only channel of escaping the drudgery of life plus the a/c comfort - so quality of the movie is often secondary,
有几点建议 1. 对印度人来说,去电影院看电影往往是摆脱繁重生活的唯一渠道,而且还能享受舒适的空调--因此电影质量往往是次要的｡
2. The industry had rich content in the 40s and 50s, supplemented by great music in the 60s. All that slowly died down, plus the advent of television meant that older folks got glued to TV and its serials. And that leaves the movie industry to cater to its primary audiences of teenagers and the sub-35 population.
2. 在 40 和 50 年代,电影业有丰富的内容,60 年代又有出色的音乐作为补充｡所有这一切都慢慢消逝了,再加上电视的出现意味着老年人开始关注电视和电视连续剧｡这使得电影业只能迎合青少年和 35 岁以下人群的主要观众群｡
3. The economics - this is a heavily manipulated number where movie producers try to reduce their tax liabilities and, when story lines are weak, they try to offset it with big name stars. And when those movie stars see a weak story line, they prefer cash to sales-driven compensation. Anyway, my two cents.
3. 经济--这是一个被严重操纵的数字,电影制片人试图减少他们的纳税义务,当故事线薄弱时,他们试图用大牌明星来抵消｡而当这些电影明星看到故事线薄弱时,他们更愿意选择现金,而不是销售驱动的报酬｡总之,我想说这两点｡
Devilsadvocate
7小时前
One positive change that is happening in Telugu film industry is that the director (and not the lead actor) has become the captain of the team and the focal point of movie production.
泰卢固语电影业正在发生的一个积极变化是,导演(而不是主演)已成为团队的队长和电影制作的焦点｡
AryanKumr
10小时前(修改过)
Indian cinema unity is strength yes actually those vfx and all done by indians only in Hollywood because they will not get more salary when compared with indian film industry . We are having so many great directors and actors but in visuals and story we are running back . Sadly some them make silly comparisons without realising of being back
印度电影的团结就是力量,是的,实际上那些特效和所有工作都是印度人在好莱坞完成的,因为与印度电影业相比,他们拿不到更多的薪水｡我们有这么多优秀的导演和演员,但在视觉效果和故事方面,我们却落后了｡可悲的是,有些人在没有意识到自己已经落后的情况下进行愚蠢的比较｡
Atiquequresh
3小时前
Producers and directors should consider giving actors only 20-30% of the profit share, along with a minimum fee based on a contract. Additionally, writers deserve to be compensated with at least a small profit share for their contributions. This could lead to a fairer system in the industry
制片人和导演应考虑只给演员 20-30%的利润分成,并根据合同规定最低片酬｡此外,编剧也应得到至少少量的利润补偿｡这将使行业内的制度更加公平｡
Ashaypallav
9小时前
BOLLYWOOD is already Finished, success of few like SRK, Ranbir, Sunny doesn't represent whole of Bollywood
宝莱坞已经完蛋了,沙鲁克·汗､兰比尔､Sunny 等少数人的成功并不能代表整个宝莱坞｡ |
