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The source of the charm of high-concept movies lies in the text itself! To this day, in high-concept films, especially those adapted from best-selling novels or comics, for the sake of production costs,

author:Exploratory Theory

The source of the charm of high-concept movies lies in the text itself!

To this day, in high-concept films, especially those adapted from best-selling novels or comics, producers prefer to "make stars" rather than use already famous stars due to production costs.

The purchase of the copyright fee of the original novel or comic book is already a large expense, and the salary of stars, especially Hollywood first-line stars, accounts for an increasingly high proportion of the current Hollywood production costs, so high-concept films use those unknown actors as much as possible.

The most typical example is the three starring actors of the Harry Potter film series: Daniel Radcliffe, Emma Watson and Rupert Grint.

After the release of "Harry Potter", the three became the most famous children in the world. The same examples include Jennifer Lawrence, the protagonist of "The Hunger Games" Katnis, and Tobey Maguire, the actor of "Spider-Man" Peter Parker, and so on.

In films that emphasize the role of stars, film planning is tailored around a star, and the plot and characters are adapted and adapted around the temperament or talents of the star that are well known to the audience.

A convincing performance is such a performance that turns the characters in the play into star images as the film progresses, such as Calais Cooper in "Meet John Doe", Janet Jana in "A Star is Born", Betty Davis in "Letters" and so on.

High-concept films, on the other hand, emphasize the "concept" of the story itself, the marketability of the film text and the linkage of best-selling precedents, and the market potential of high-concept films depends more on these factors to achieve.

Before the film meets the audience, the actor's image is not closely related to the construction of the film's characters, and high-concept films can choose unknown actors.

For those actors and stars created by high-concept films who have become famous through the film's hits, on the one hand, it is necessary to maintain their star image and box office appeal, on the other hand, it does not mean that stars have become an indispensable element.

The most typical example is the "Spider-Man" series starring Tobey Maguire was popular after the movie sat on the ground, Sony failed to negotiate with it and did not hesitate to restart the series to launch "The Amazing Spider-Man", Tobey Maguire was abandoned.

In the latest "Spider-Man: Homecoming", the starring role was replaced by a new generation of actor Tom Holland.

The audience wants to see Spider-Man walking off the wall, and is not particularly interested in who the person behind the mask is, in other words, unlike the general movie for stars, high-concept movies emphasize the match between stars and "concepts".

For example, the above-mentioned actors, not so much for high-concept movies to fancy their box office appeal, but rather that some of their "temperament" coincides with the role.

Such as Tobey Maguire's shy simplicity and Jennifer Lawrence's simple tenacity and so on.

"Batman v Superman: Dawn of Justice" director Zack Schneider commented on starring Gal Gadot: "She also has a magical temperament that complements the character.

"Celebrities have brand effect and have similar business functions to brands, which can not only provide differentiation for different products, but also provide a guarantee for the stability and continuity of quality."

Distinguishing products does not really need to create the differences between products, just spread the differences of products to guide people to form differences in understanding of products, which can lead to different purchasing behaviors.

This differentiation can be represented by both longitudinal and transverse axes.

The quality of the objective characteristics of the product is arranged on the vertical axis, and different prices are generated, which is also known as "you get what you pay for": and horizontal differences are only a reflection of different tastes of consumers, for example, the same product will have different colors or patterns.

These two axes representing quality and preference can be applied to stars, and general movies will pay relatively more attention to the vertical differences of stars, and determine their worth according to the star's acting skills, fame, etc., while Cameron Diaz Sillia Roberts and Nicole Kidman are only "chromatic" differences in horizontal differences without quality differences.

But high-concept films value horizontal differences.

Some characters and even films are tailor-made for the star, and some characters need to coincide with certain qualities of the star himself. The height mismatch between the actor and the character can also become a "high concept".

For example, the same Schwarzenegger, in the comedy "Santa Bean" and "Brother Dragon and Mouse" no longer plays a mighty and brave lone hero, but a funny and funny comedian image.

High-concept films also emphasize the high value generated by the gap in the matching degree of stars and characters. In short, high-concept films either choose a high match or a high mismatch, and basically abandon the intermediate state.

The main characters created by Ham Hanks often oscillate between the loyal/wooden and humorous/witty extremes, and those modest characters are difficult to impress the audience.

The source of the charm of high-concept movies lies in the text itself! To this day, in high-concept films, especially those adapted from best-selling novels or comics, for the sake of production costs,
The source of the charm of high-concept movies lies in the text itself! To this day, in high-concept films, especially those adapted from best-selling novels or comics, for the sake of production costs,
The source of the charm of high-concept movies lies in the text itself! To this day, in high-concept films, especially those adapted from best-selling novels or comics, for the sake of production costs,

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