"Now a movie with 30 million returns would be something very incredible and the producer can only get 10 to 15 million. This is only 100 thousands US dollars. This is not enough!"
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A $30 million box office haul sounds like a victory lap until Zhang Yimou does the math and turns it into a cautionary tale. His phrasing is almost blunt to the point of disbelief: “something very incredible” gets punctured by the small, dispiriting slice that actually reaches the producer. The shock isn’t at the audience’s enthusiasm; it’s at the industry’s plumbing. Money flows in, but it doesn’t flow back to the people taking the creative and financial risks.
The intent here is pragmatic, even a little exasperated: Zhang is arguing that success, as publicly measured, can still be commercially unviable. The subtext is a critique of revenue-sharing structures (exhibitors, distributors, fees, opaque accounting) that can turn headline grosses into pocket change. His conversion into “100 thousands US dollars” reads like he’s translating the absurdity for an international listener, inviting a global comparison: in Hollywood terms, that’s not “profit,” it’s craft-service money.
Context matters because Zhang isn’t just any director; he’s a figure who has moved between art-house prestige and state-friendly spectacle, between global festival circuits and domestic mass-market economics. When someone with that résumé says “This is not enough!” it lands as more than personal complaint. It’s a warning about sustainability: if even a blockbuster-level return can’t reliably finance the next film, the industry incentivizes safer stories, bigger compromises, and the kind of cultural output optimized for gatekeepers rather than audiences.
The intent here is pragmatic, even a little exasperated: Zhang is arguing that success, as publicly measured, can still be commercially unviable. The subtext is a critique of revenue-sharing structures (exhibitors, distributors, fees, opaque accounting) that can turn headline grosses into pocket change. His conversion into “100 thousands US dollars” reads like he’s translating the absurdity for an international listener, inviting a global comparison: in Hollywood terms, that’s not “profit,” it’s craft-service money.
Context matters because Zhang isn’t just any director; he’s a figure who has moved between art-house prestige and state-friendly spectacle, between global festival circuits and domestic mass-market economics. When someone with that résumé says “This is not enough!” it lands as more than personal complaint. It’s a warning about sustainability: if even a blockbuster-level return can’t reliably finance the next film, the industry incentivizes safer stories, bigger compromises, and the kind of cultural output optimized for gatekeepers rather than audiences.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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