Hollywood's salaries have been rising, but the main driving force is the combination of three giants: Innovative Artist Economy, William Morris Agency, and International Innovation Management, which has made actors' salaries continue to rise since the 80s.

In 1988, Arnold and Schwarzenegger took over the filming of "Dragon Brothers and Twins" not only got paid, but also participated in box office dividends, which also opened a new chapter in the payment method of actors' salaries; After that, in 1989, Jack Nicholson participated in "Batman" as a supporting role. He completely gave up his salary, but got paid in the form of dividends, but on the condition that no matter how much the box office was, he could share according to the proportion signed by the contract, there was no box office limit, and even the peripheral sales of ancillary goods were also shared, and in the end Jack relied on this movie to get a salary of 50 million US dollars.

Since then, Hollywood's actor salary has opened a new era: the basic salary plus box office dividends.

Actors' remuneration has always been a topic that people will never get tired of, and its hot 'door' is probably second only to scandals and scandals between artists. One of the main reasons is that these numbers are so large that they are out of reach for ordinary people.

In fact, the media's reports on actors' salaries have a considerable amount of false rumors, on the one hand, because actors' salaries involve internal competition in the industry and can be used as commercial secrets and not released to the outside world; On the other hand, studios and actors have special purposes and may deliberately inflate or understate their actual pay, generally for show-off, and downsize to deal with the 'door' of the Department of Taxation, which is an astonishingly high tax on the wealthy in the United States. The most important reason is "deliberate simplification." "In real life, an actor's salary may not be a number that can be explained, but for the media and movie fans, the most impactful thing is a number of zeros on the right.

In Hollywood, the payment of actors' salaries was originally very simple, that is, the producer paid the actors like a salary, and then completed the filming, and that's it, but when the list of box office dividends also included actors in the feasible range, it became complicated, because the so-called box office dividends are very complicated.

Due to antitrust laws in the North American film market, production companies, distributors, and exhibitors are often different companies. Generally speaking, after the production company has finished producing the film, it is 'handed over' to the distribution company for operation, and the distribution company contacts the major cinema chains for screening.

There are two ways for the distribution company and the theater chain to share profits, the first is that the distribution company 'pays' a certain rent to the theater, and the theater chain 'draws' the commission every week after the release, which is 10% in the first week, and gradually increases, but will not be higher than 40 percent; the second is that the distribution company does not 'pay' the rent, and the theater directly 'draws' the commission, which is 30% in the first week, and increases step by step, with a maximum of no more than 50%.

Generally speaking, the box office from theatrical screenings accounts for 40 percent of the total box office that a film can generate. In other words, only 60 percent of the box office is left for production companies and distributors.

These 60 percent can be divided into two situations: one is that a large production company owns its own distribution department, so 60 percent belongs to the production company; and the other is that the production company 'handover' the distribution rights to a professional distribution company, so that the two must divide up this part of the profits, generally speaking, the production company occupies 30 to 35 percent, while the distribution company takes 25 to 30 percent.

Whether it is the first or the second type, the part of the profit that belongs to the "production" obtained by the production company is about 30 to 35 percent, and this part of the profit needs to be divided by the production company itself, the director, the producer, and the screenwriter, and now there is one more actor on the sharing list.

Twenty-five percent is the largest share that large Hollywood studios are willing to set aside for actors, directors, producers, and screenwriters, and it is a combination of all those who participate in the dividends, not everyone. In other words, in the end, the box office falls into the hands of the production company, which is 10 to 15 percent of the box office of a movie.

In fact, for large film production companies, the profit from box office revenue has never been their most important source of income, and the income from home entertainment projects such as television, cable TV, and videotapes, as well as the income from peripheral copyrights, is the real source of income for film production companies, up to more than eighty percent of the production company's profits, and even higher than the box office of the film itself. Of course, the 'color' of the box office will also drive other copyrights and peripheral income, which complement each other.

Directors, producers, screenwriters and actors can get a share of about 20 to 35 percent of the box office, with occasional exceptions, but that's after the 21st century, and until the 90s, the ratio was about the same level.

It is precisely for this reason that many big-name actors - such as Tom and Cruise after becoming famous - are reluctant to use first-line "female" actors to partner, because it will mean that the number of actors participating in the dividend increases, thus reducing their share ratio, but Tom is willing to cooperate with Steven Spielberg, because he values the box office influence brought by big directors, and the ultimate economic benefits bring more than the sacrifice of the share ratio. And where the actor participates in a work with a high proportion of shares, the actor will definitely spare no effort to promote it, and from the exposure density of the actor's publicity period, you can guess the economic interests of the actor from a certain process. Of course, this also ties the actors and the box office more deeply, increases the responsibility on the shoulders of the actors, and improves the positive 'sex' of the actors, which is also of positive significance.

In this part of the box office that directors, producers, screenwriters and actors can share, there will be different 'waves' of Cheng dù according to the proportion of big names in each position, of which the actors' share ratio ranges from 5% to 50%, and the range of 'waves' is very large, and the influencing factors include whether the co-actors are eligible for dividends, the actors' own appeal, the directors and producers' big names Cheng dù, etc., in the final analysis, it is still a matter of Hollywood power.

So what kind of role does the agent play in this?

First, it is precisely because of the existence of the three major brokerage companies that the box office dividends of directors, producers, screenwriters and actors have been completed, and even the proportion of dividends has been rising, which has greatly compressed the discourse power of the production companies and fundamentally changed the power of Hollywood. Moreover, actors can become a part of the box office dividends, and the agency is the determining factor of 'sex'.

The most basic ability of an excellent agent is to maximize the benefits of the actors, and the remuneration and performance treatment are the core links. For example, Lang was able to get six million for Hugo, but Joseph only got three million for Hugo, and this is the difference. For another example, after Arnold - Schwarzenegger and Jack - Nicholson set a precedent, the actors who can get dividends are still few, and the agent's tongue and lotus "flower" have a decisive role.

To put it simply, a broker is a good salesperson, he has a deck of cards worth three million dollars, and if he only sells three million, he can only say that it is decent; If he sells two million cheaply, he is incompetent; Of course, if he can sell six million and even get a dividend, this is a truly outstanding agent.

Hugo's current situation in Hollywood is at a crossroads of opportunities", after "Yihai Xiongfeng", the media generally believes that Hugo can be among the first-line actors, that is, the salary of eight million US dollars, but the problem is that so far no production company has invited Hugo with this salary, so the so-called first-line is just the media's own dry shouting.

But it is undeniable that after experiencing the foreshadowing of "smelling the fragrance and knowing the 'woman'" and "the heroic wind of the righteous sea", Hugo originally had a certain level of qualifications after rolling in Hollywood for ten years, so his salary is not more than three million dollars at all, and it is not a problem to return to the six million dollars of the "Hudson Eagle" period.

However, the salary of six million does not rely on lip service, and Hugo's sharp turn for the worse after the Golden Globe Awards will not have a substantial impact on his salary, but the impact is inevitable. Therefore, whether he can get a salary of six million is a test of Joseph's personal ability!

If things were so simple, Joseph was confident that he would be paid six million, and he was willing to fight for Hugo, but the problem was that the crew of "Sleepless in Seattle" was not a rich team, and although Joseph did not get any definite information, as far as he knew, the budget for the production was only $20 million.

In addition, Joseph also inquired about the latest news, "Seattle Sleepless Night" The "female" protagonist invited Meg Ryan to play, Meg is a level of actor who is bigger than Hugo, although the salary of "female" actors has always been lower than that of male actors, and even 50% lower, it is not surprising, but even if Meg has been quite low in the past three years, it should be no problem to pay around 4 million or 5 million.

In this way, if Joseph also asks Hugo for a salary of six million, the actor's budget alone accounts for fifty percent of the cost of the film, which is almost an impossible task. What's more, Hugo was able to get the opportunity to perform in "Sleepless in Seattle", which can be said to have gone through countless difficulties, and Hugo is also full of confidence in starring in this work, so now Joseph has no way to 'straighten' his back and say to Nora, "Without six million, we won't act." ”

Joseph couldn't help but feel a headache, so how should the scale of this salary be calculated? This is also the reason why Joseph did not respond immediately when Nora brought up the issue of salary, because he didn't expect Hugo to really audition successfully, and he didn't expect Hugo's first work after "The Heroes of the Righteous Sea" to be a chick movie. "Do you really want to propose a form of box office sharing?" Joseph came up with the idea that this was not the solution, but the problem was: Hugo simply did not reach the level where he could claim box office dividends!

The latest chapter of the high-speed debut superstar, this chapter is 263 remuneration issues, the royal family's fang, the file Nao, about the remains of 4, to consume 6000, the result of consumption 400, the address is