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《杀手》制片人解密:如何通过片厂绿灯委员会的评审 制片人|绿灯

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发表于 2016-8-31 14:07:53 | 显示全部楼层 |阅读模式
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                    绿灯委员会几乎掌握着一个电影项目能否落地的生杀大权。制片人Adrian Askarieh就如何通过片厂绿灯委员会的评审等问题为我们解答。
               
            
            
                原标题 《杀手》《杀手:代号47》制片人:如何通过片厂绿灯委员会的评审
Greenlight Committee,国内译作绿灯委员会,是每个片厂(studio)决定什么影片最终可以进行投拍的一个决策小组,简单地说就是他们几乎掌握着一个电影项目能否落地的生杀大权。能进入绿灯委员会评审的项目,都是片厂之前投资研发的项目,由与片厂有首看协议的制片人提交;能最终通过绿灯委员会审批的项目,就是最后杀出重围在院线得以见天日的项目。我们就绿灯委员会的问题咨询了制片人Adrian Askarieh。

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Adrian Askarieh, 美国电影制片人,制作过系列影片《杀手》(Hitman),《杀手:代号47》(Hitman: Agent 47)等。该系列片基于游戏改编,由福斯制片并全球发行。Adrian Askarieh在好莱坞以制作游戏改编电影著称。有关他的具体信息,请查阅http://primeuniverse.com
Eva: 制片厂的绿灯委员会是由什么人组成的?
Adrian:每个片厂不一样,但是通常是由最高层级的研发部门,市场宣发部门和发行部门的高管组成。
It varies at every studio, but it is usuallymade up of top-level creative and marketing, and distribution executives.
Eva:他们在绿灯会议上都做些什么?
Adrian:作为制片人,除非你是独立融资的项目,否则片厂很少让制片人出现在绿灯会议上。但是制片厂在绿灯会议上都是来做决定是不是投拍某部影片,这方面每个片厂都是一样的。基本就是来权衡“利和弊”,看看是不是往前推进。我想说这个会议上,拍不拍某部影片,其中的商业和经济利益是决定的主导因素。有的时候,一部影片通过绿灯委员会批准,是因为它能给片厂带来光环,比如得奖几率大;有的时候,影片通过绿灯是因为项目中有个很重要的人物(Eva:一般指演员或导演),片厂想和他建立长期合作关系。但是上述情况最近几年出现的越来越少。从基本经验评判,他们就是看这个项目是不是能赚钱,是不是能加强片厂的片单,提高该部影片成为系列片的机会。
As a producer, unless you are independently financing the project, you never sitin at a studio green light meeting. But the process by which a studio decideswhether or not to green light a movie is fairly consistent throughoutall of the studios.  It is all about weighing the “pros andcons” of moving ahead with making a particular movie.  I would say it ismostly dictated by whether or not making a particular movie is a viablecommercial and financial decision.  Sometimes movies get the green lightbecause they bring a certain prestige to the studio in terms oftheir award potential. Other times a movie gets the green light becausethere is a very important piece of talent with whom the studio wants to be inbusiness. But these scenarios occur less and less these days. The rule of thumbis whether or not a movie is a viable financial endeavor and whetheror not enhances the studio’s slate and gives them a realistic chance atlaunching a franchise.
Eva:我听说在绿灯会议前,制片人都要去片厂为项目做最后陈述。在这个会议上,你都需要准备些什么资料?
Adrian:我一般管这个会议叫绿灯前制片人会议。绿灯委员会一般指片厂内部最终决定影片投拍与否的人员。如果到了这个阶段,制片人一般会有很棒的剧本、导演和一些主要演员。有预算和拍摄期表也很重要。即便是后面这两项最终还是需要修改变化也没有关系,投资人/片厂会根据这些信息作出分析决定。
I prefer to call this the meeting with the producers just before a movie is greenlit. A "greenlight committee" often refers to the people at the studio who conferinternally and decide which movies get made. By the time producersreach this phase, they will ideally have a strong script, a director, and someof the key cast in place. Having a budget and a schedule is also very key. Evenif the latter two evolve and change (as they often do), having them at thisjuncture gives everyone, including the financier/studio, sufficient informationto base their decision
Eva: 对于游戏改编的电影项目,是不是更容易被绿灯委员会批准?他们是如何评判的?有哪些因素会影响他们的决定?
Adrian:如果是基于一个很成功的IP研发出来的项目,肯定是更有优势,更容易通过绿灯委员会的批准,尤其是在当今的市场情况下。所有人都在寻找既有的IP(注:Adrian真的是用的IPs)。因为观众对这个内容更有熟识度,不管是很多人了解的,还是这种对于大众来讲很重要的漫画书或者游戏,这都有着很大优势。因为从全球的观众对于基于既有IP改编的项目的热情程度来看,这种基于IP改编的项目对于投资人和片厂来讲相对保险。所以基于IP改编的项目被认为有很高优先权。
It is always a major advantage to have asuccessful and established IP as the source material for a movie you hope toget the green light for, especially in today’smarketplace. Everyone is looking for pre-existing IP. That is becauseaudience familiarity with a particular property, whether it is the massaudience, or in the case of comic books and video games, an extremely importantand active component of the mass audience, is a substantial advantage inthese cases. Because of theenthusiastic way in which global audiences are responding to movies based onIPs, IPs are much more of a safer bet to financiers and studios. And movies based on established IPs are deemed of higher priority.
Eva:《杀手》系列影片,第一部很成功,为什么8年后福克斯才做第二部?绿灯委员会是根据什么来决定是否做系列片的?
Adrian:这是个很好的问题。其他很多没有《杀手》那么成功的系列片都要比它推进的快。因为有的时候在片厂的环境发生变化,这包括比如管理层的变化,这就使得是否做系列片这个决定的过程变得漫长。至于绿灯委员会是怎么决定是否做系列片,我的答案是一样的,他们会分析这样做是不是能赚钱。
That’s a good question.  Many other films which wereless successful than the first Hitman generated sequels much quicker.  Butsometimes the climate at a particular studio changes, this includes changes inmanagement, and it becomes a longer process to get them to agree to move aheadwith a sequel.  As far as the factors the green light committee takes intoconsideration when deciding to move ahead with making a sequel, my answerremains the same: they ask and analyze whether or not it is viable financialendeavor.
Eva:谢谢你的回答。你最近在做哪些项目?有没有和中国市场相关的项目呢?
Adrian:我现在正在研发两部基于游戏改编的电影,《正当防卫》(JUST CAUSE)和《杀出重围》(DEUS EX)。另外一个让我很兴奋的科幻惊悚《ALIEN SLEEPER CELL》也在前期筹备中。我觉得中国给大家提供了很棒的机会,主要是有这么多爱好电影的观众,他们愿意走进电影院体验电影带来的乐趣。作为电影人,能把电影带给这样的观众是非常令人兴奋的。我现在也在为中国观众研发一些项目,包括一部非常受欢迎的漫画小说改编题材《庞然巨物》(ENORMOUS)(Eva:据悉,《正当防卫》与国内光影工场合作,有兴趣投资的赶紧联系!)
I amcurrently working on bringing two very popular video games, JUST CAUSE and DEUSEX to the big screen. I am also starting soft preproduction on a science fictionthriller called ALIEN SLEEPR CELL, which I am very excited about. I think Chinaprovides a very exciting opportunity mostly because there is a huge andreceptive audience that genuinely enjoys going to the movies and loves thecinematic experience. As a filmmaker, its very enticing to want to provideexciting movie content for such an audience.I am currently developing a fewprojects for the Chinese audience, including a very popular graphic novelcalled ENORMOUS.
2016年8月30日
Eva于洛杉矶
eva.evacao@gmail.com
作者伊娃曹(Eva Cao),历任华谊兄弟北美首席代表及国际制作部总监、华狮北美制作公司副总裁、美国韦恩斯坦公司亚洲制作部顾问。毕业于美国南加州大学研究生院及美国天普大学研究生院,主攻电影制作及娱乐管理。目前常驻好莱坞。
(本文为“壹娱观察”独家约稿,未经授权不得转载。如需转载请加微信yiyuguancha6申请授权)
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