In the past life, most of the Hong Kong and Taiwan artists who took the initiative to develop in the mainland were doing well.

Because the mainland market is vast and the prospects are broad, artists can get more opportunities when they come to the mainland to develop.

For example, TVB has only made more than 30 movies a year, and with ATV, it only has fifty or sixty movies at most.

The mainland has more than 500 series filmed in a year, which is ten times that of Hong Kong. In terms of investment, the average cost of TV series in the mainland is about one million yuan per episode. For example, some big-produced TV series, the cost of one episode is even more than five million.

The actors’ pay alone is as high as one million yuan per episode. In Hong Kong, the cost of producing a TV series is only a few hundred thousand Hong Kong dollars. Even first-line stars such as Ouyang Zhenhua, Lai Yaoxiang, and Charmaine Sheh’s pay is only 10,000 or 20,000 Hong Kong dollars per episode.

So the mainland is really a holy place for many Hong Kong and Taiwan celebrities to make money, and many Hong Kong and Taiwan artists who have long passed away have regained their second spring in their careers in the mainland.

For example, Wu Qilong, before starring in "Scarlet Heart", was a former member of the Little Tigers. Compared to another Su Youpeng, who was developing a prosperous mainland with Qiongyao opera, his popularity can be said to be greatly reduced. Whether in Taiwan or Hong Kong, he no longer has his place.

But the popularity of "Scarlet Heart" made him immediately turn over and become one of the most popular male stars. Even his film and television company went public successfully, making him a big boss with a net worth of over 100 million yuan.

For example, Liu Kaiwei was only considered a second-tier actor at most when he was developing in Hong Kong. However, after entering the mainland, he became famous and not only became the spokesperson for the domineering president, but also married the most popular actress in the mainland. It can be said that he became a winner in life.

Even if the actors did not usher in the second spring, they could make a fortune with high pay from the mainland. For example, Chen Haomin acted in several "Jigong" in a row. Although he was criticized as a bad drama, he did not receive any pay. Ouyang Zhenhua also came to the mainland to develop after leaving TVB and filmed many thunder dramas, such as "The Legend of Zhong Kui", "The New Legend of Budai Monk", etc.

Most of the Hong Kong and Taiwan artists who did not come to the mainland to develop were not doing well. For example, Du Wenze, a Hong Kong artist who was banned for "bad breath", originally became famous with the "Infernal Affairs" series and successfully ranked among the top Hong Kong stars.

When it was the most popular, it was a big deal to make ten movies a year. You should know that after the decline of Hong Kong movies, it was already very good that ordinary actors had a job.

But just because he didn't talk about his good cards, he was boycotted by mainland netizens. The box office of the movie he starred in was extremely bleak, making the film merchants no longer dared to invite him to film.

Du Wenze had to go to Malaysia to develop, and Malaysia's entertainment industry was very backward. Not to mention that compared with mainland China, even compared with the Hong Kong entertainment industry, which had long been declining, it was still very inferior.

Therefore, Du Wenze went to Malaysia to develop and did not make any achievements. Even news of bankruptcy was reported every now and then. It was also a dissatisfaction with retribution and suffered by himself.

In contrast, it can be said that the mainland, with its vast market and huge capital, has provided a platform for Hong Kong and Taiwan artists to continue to shine and heat, allowing them to "have a place to support and have a place to rely on in their old age", ensuring that many Hong Kong and Taiwan artists still have work and money to earn, and they can't starve to death after they are out of date!

This is also the summer paving a way for Hong Kong and Taiwan artists.

...

Although the overall level of the Hong Kong and Taiwan entertainment circles is still higher than that of the mainland entertainment circles, regardless of pay, investment, production level, etc., it is better. However, from a development perspective, the Hong Kong and Taiwan entertainment circles are destined to decline.

First, the economies of Hong Kong and Taiwan have passed their peak period and entered a dull period, which will reduce the investment obtained in the entertainment industry.

Because the entertainment industry is a very expensive industry and has a very high risk. It is normal to invest hundreds of millions of dollars in a film and television drama, but there is a high probability that it will not even make back the cost.

In Hollywood, movies that can recover costs every year account for less than 50% of the circulation. Basically, nearly 60% of the films are losing money.

This is also the reason why Hollywood film companies go bankrupt every time. Even MGM, Relativity (known as the ninth largest film company in Hollywood), are difficult to avoid.

In mainland China, investing in film and television dramas also requires a great risk. Every year, there are four or five thousand TV series in the mainland, which cannot be released after filming, and some TV series have even been backlogged for more than ten years.

There are more examples of film losses. Even big directors like Feng Xiaogang, Chen Kaige, Zhang Yimou, and Jiang Wen cannot guarantee that they can sell the movies they make.

Therefore, when facing such a big risk, if the wealth created by society surges during the economic active period and there is nowhere to vent a lot of hot money, the bosses are willing to take risks and invest. Once they fight, they sell money for film and television dramas, it is also very profitable.

But if it is during the economic downturn and when hot money cools down, the bosses are unwilling to take too much risk. At this time, it will not be so easy for the entertainment industry to get investment.

This is like gambling. A gambler who wins repeatedly and keeps winning money will naturally have the confidence to make big bets. However, a gambler who loses repeatedly and keeps losing money will not have the courage to spend a lot of money unless he loses in a hurry.

In his previous life, the reason why Hong Kong films reached their peak in the 1990s was because Taiwan's economy was developing rapidly and money was flooded with money. There was so much money that I didn't know where to invest, so a large amount of funds poured into Hong Kong, causing Hong Kong film production and celebrity pay to surge.

The mainland entertainment industry has ushered in explosive growth after entering the new century. It is also because the mainland economy has grown rapidly for many years, causing private capital to surge, and a large amount of funds flowed into the entertainment industry, which has caused changes in the entertainment industry every year in those years.

The subsequent decline in the Hong Kong and Taiwan entertainment circles was also related to the economic situation.

Taiwan's economy has slowed down after the mid-1990s. This has led to a decrease in hot money flowing into the Hong Kong entertainment industry, which has triggered the decline of Hong Kong films.

The Taiwanese entertainment industry began to decline gradually after the new century. Although it seemed prosperous on the surface, it was actually just an appearance. In the early 1990s, Taiwanese production companies dared to invite Zhao Yazhi to film for 80,000 Hong Kong dollars per hour but their pay. Even twenty years later, the popular Jia Jingwen and Lin Yichen could not get this pay.

Therefore, in the future, with the slowdown in economic growth, the Hong Kong and Taiwan entertainment circles are destined to be dull.
Chapter completed!