Chapter 358: Expanding the Industry

Chapter 358: Chapter 358: Expanding the Industry

"I suppose the income models for the two circles are quite different, aren’t they?" Irene recalled hearing people in the industry discuss this before. "I’ve heard that the income for American TV series writers is more stable?"

"That is indeed the case," Eleanor smiled. "Film screenwriters’ income is one-off. You sell the script and get a fee. No matter how well the film does at the box office later, unless the contract specifies a cut, it has nothing to do with the screenwriter.

But American TV series writers are paid by the episode, and they can also get residuals and derivative revenue. Moreover, top-tier American TV series writers, if they also serve as producers, can earn over ten million dollars a season, which is more than many film screenwriters make.

However, the risk is also high. Once a show is canceled, the entire writing team might be unemployed, unlike film screenwriters who can take on the next project once one ends."

She summarized: "At the end of the day, film is ’condensed art.’ It needs to complete a full narrative loop within two or three hours, so it focuses more on structural sophistication and visual impact.

American TV series, on the other hand, are ’long-form narratives.’ They rely on sustained suspense and well-rounded characters to retain the audience, so they depend more on solid scripts and team collaboration. When you make films, you are pursuing a ’one-time ultimate experience,’ but American TV series pursue a ’sustainable emotional connection.’"

Irene suddenly realized and said with a smile, "No wonder you always said that writing for American TV series is more tiring than writing films, but also more fulfilling. This feeling of real-time interaction with the audience and watching the characters you created slowly grow is indeed very special."

"Yes," Eleanor looked at the television screen, a hint of pride in her eyes. "Look at this case. It actually has a real-life prototype. Now, by bringing more attention to this issue through the series, this kind of social influence is sometimes more direct than film. However, film has its advantages, too. You can present such grand naval battle scenes on the big screen. That kind of visual shock and artistic expression is something American TV series find hard to match."

The topic naturally turned back to Irene. Eleanor asked with concern, "Speaking of which, you’ve made so many films, have you ever thought about trying to make an American TV series? Some film directors are now turning to limited series, like True Detective, which has both the texture of a film and the narrative depth of an American TV series."

Irene shook her head and said with a smile, "I haven’t thought about it for now. My schedule doesn’t allow it. But hearing you say that, I am actually a bit curious. When I have the chance, I might just find an American TV series project to test the waters and experience this feeling of collective creation."

After all, she had quite a few classic American TV series in her mind that she could bring out to expand the company’s business.

Eleanor looked at her daughter and suddenly laughed. "Speaking of which, that house of yours in Santa Monica—I told you long ago it was too big. It must be lonely living there by yourself. You see the drawbacks now, don’t you?"

Irene smiled sheepishly. "You’re right. Just now, when I got back there and looked at the empty house, having to boil my own water for a cup of tea, I suddenly felt it was meaningless."

She took her mother’s hand and acted coquettishly. "Mom, there’s nothing over in Santa Monica. I want to stay here for a while and eat your pineapple pie and Spanish fried rice. Is that okay?"

Seeing her younger daughter’s rare display of girlish cuteness, Eleanor’s heart melted.

She gently pinched Irene’s cheek. "Silly child, this has always been your home. You can stay as long as you like. Never mind pineapple pie. Even if you wanted to eat lobster every day, Mom would make it for you."

She suddenly remembered. "Oh, by the way, your sister Sophia also came back a few days ago. I suppose she isn’t busy, so she came back to keep us company. But she just went out with some friends, so she probably won’t be back until later. You two sisters will be able to see each other tomorrow."

"Really?" Irene’s eyes lit up, and a surprised smile appeared on her face. "I haven’t seen my sister in a long time. The last time we spoke on the phone was three months ago. I didn’t expect her to be back so soon."

Mentioning her eldest daughter, Eleanor’s face was full of pride. She looked at Irene, her tone gentle. "You two sisters are both working hard in the film industry, though your focus in filming is a bit different. But at the end of the day, it’s all the film industry, so you two can have a good exchange."

Irene smiled and nodded.

Although she and her sister Sophia had different personalities — one calm and introverted, the other lively and outgoing — the sisters had always had a very good relationship.

Although they didn’t spend much time together now, both busy with their own careers, their concern for each other had never diminished.

Eleanor: "You’ve been rushing around all day, you must be exhausted. Let me take you to see your room. It’s the same one you used to live in. I have the servants clean it every day, so it’s very clean."

"Get some good rest today, and I’ll wake you up for breakfast tomorrow morning. Oh, and if your sister comes back, I’ll tell her not to disturb you."

"Okay, thanks Mom." Irene hugged her mother. "Mom, good night."

"Good night, my little Irene." Eleanor gently patted her back and turned to leave the room.

Irene closed the door, walked to the bed, and sat down. Looking at the familiar room, the exhaustion and loneliness in her heart completely dissipated.

She lay on the bed, closed her eyes, and was still ruminating on her mother’s words from just now.

The difference between film and American TV series is not just in the production process, but also a divergence in creative philosophy.

Film is condensed art, requiring the construction of a complete narrative loop within a limited duration. Every shot and every line of dialogue must serve the core theme, pursuing ultimate emotional impact and visual shock.

American TV series, however, are long-term companions, relying on sustained suspense, well-rounded character growth, and real-time interaction with the audience, focusing more on narrative extensibility and the deep exploration of issues.

Future World Pictures now holds hit film IPs like Pirates of the Caribbean and Saw, and the preparations for Transformers and Final Destination are steadily advancing. Later, there are even Twilight and Taken that can be adapted. It can be said that for at least five years, the company will not lack sustainable projects.

But a single-focus film business always has its limitations.

Film projects have long cycles and high investment risks. The success or failure of one work often affects the company’s entire annual revenue. Television business, on the other hand, can form stable cash flow, accumulate audience stickiness through continuous series output, and even incubate derivative content for film IPs, forming an ecological loop of "film-series synergy."

Major Hollywood studios have long been laying out their presence in the television sector. Disney has the ABC network, Warner Bros. has HBO, and Paramount also has its own television department. If Future World wants to gain a firm foothold in the industry, or even surpass others, the television business is a track it must enter.

It’s just that she can’t say for sure right now which series should serve as the starting point for this new industry.

The writers’ room system for American TV series, the cooperation model with television networks, and the logic of long-term operations are all completely different from film production. Future World’s current team structure is better at advancing film projects and lacks professional television production talent.

Rashly launching television projects would likely disperse their energy and instead affect the quality of existing film projects, which is something she does not want to see.