雖然今時今日要得悉票房已經不易，不過觀眾對於票房數字的高低卻十分在乎。每當電影票房不佳時，就會對於演員甚至導演評頭品足。可是，大家又能理解票房代表甚麼呢？
也許，票房數字的高低對觀眾來說，或代表示一個導演的成就。結果，當一部電影看來質量不佳但票房不理想之時，便會說觀眾不支持云云。
可是，票房的組成，觀眾其實不算是十分主動的位置。
一部電影要有票房的出現，先是片商安排院商觀看電影，在自家主觀願望的發行規模下，院商視乎是否賣賬作出配合。觀眾在觀乎所獲得的資訊，包括演員組合、班底、預告、宣傳同期對手和整體環境等因素，然而從自己的角度去視乎會否入場的活動。而電影宣傳策略上能否擊中目標觀眾，也同樣重要。
開畫票房和首個周末票房，每每就是觀眾的直覺，故此口碑的因素影響不算大。故此，箇中有著很多變數。
試想一部要靠口碑的電影，首周來個大型發行，每每出來的結果是，觀眾一開始不感興趣買單，開畫首幾天院多入場少形成入座率低，繼而戲院在商業營運角度縮場。結果換來的，可能是較中型發行多一點票房，但是同時也要賠出拷貝沖印費、廣告、宣傳等，不一定是有賺。
適當的發行規模、合適的宣傳方法，才能對準目標觀眾，才能令他們感興趣入場。在合適的規模下，才弄到達標的入座，得到預期甚至預期之上的票房。
故此，將票房的高低跟導演扯上關係，未免對票房的意義未夠全面吧。
jerrychan
美國A級電影的宣傳費,平均佔一部電影成本三分之一,甚至二分一.如果以為拍好一套電影就可以換來票房成功,明顯對於現實世界看得過份理想.不過,即使一部電影有足夠的宣傳費,但係宣傳重點不夠清晰,一樣會出現倒錢落海的情況.
雖然香港曾經出現過炒雜燴電影的傳統,完全脫離荷里活類型電影的邏輯,但是近幾年的香港觀眾,口味變得越來越分眾,加上互網聯的推波助瀾,要打破不同族群的排他性,越黎越變得困難.當觀察一部電影的口碑,同時要分析口碑的內容,既究是小眾的狂熱,還是當中有大部分人所喜愛的元素.
愛情片,青春片,懷舊片,功夫片,都有特定的市場佔有率,不過愛情+青春,懷舊+功夫,就未必有協同效應,相反,可能會產生兩批目標觀眾互相排斥.想看愛情的嫌主角太後生,想看年青人故事的又唔鍾意情情塔塔;喜歡集體回憶的人未必愛好功夫,想睇功夫片的人未必對舊時代有興趣,佢地可能一心只係想睇英雄人物.
一套票房成功的電影,大部分都有自己的市場定位.有喊有笑有懷舊有青春這種宣傳策略,妄圖跨越各個階層,下場通常唔會好.
就數下香港幾套近年票房爆冷的電影,青春片愛鬥大,懷舊片歲月神偷,驚悚片殺人犯,”愛情片”志明與春嬌.前三套係由宣傳一開始就完全捉緊自己宣傳策略,志明與春嬌則係由三級粗口片慢慢轉變到愛情片,結果票房低開高收.
一套電影細節拍得幾好都無用,只要變成滄海遺珠,因為觀眾只有入過場先會睇到細節.觀眾選擇入場既關鍵,係一套電影的主題.宣傳大員人工收得咁貴,就係要為電影主題而去包裝.但係電影主題,就係由編導所負責.
The Daydreamer
It’s a good time to post this, given that there have been certain misguided/misleading comments that continually come up.
But the big question remains: why does box office matter to the ordinary audience? I’ve talked to regular movie-goers from other countries and it’s only Hong Kong which has a peculiar obsession with box office success.
Paul ng
補充:美國A級電影的全球宣傳發行費用, 直情係可以拍另一套A級片. 《變形金剛狂派再起》全球戲院發行的宣傳費便高達1億5000萬美元.
係美國, 宣傳大員在控制電影製作上的權力直情比導演更高; 因為對美國大片商而言,一套片是否watchable並不重要, 但一定要marketable.
SAN
actually not most audience in HK cares about the box office, only those who loves cult movies and always wondering and blaming why other movies can get such big success in box office, why our beloved cult movie has no BO at all,whywhywhy? and use such box office to attack the commercial films as stupid idiot movie. thats why u always seen people raising up box office issue here. its normal for people not caring box office in foreign countries, becoz audiences there know exactly what means by commercial movie and cult art movie, people just go see what they like to see, and won’t care about other type of movies.. different movies for different audience…”those” hk people would never understand what “commericial” means….
SAN
大製作當然需要大量觀眾入場支持!唔係蝕到死仲點拍戲?! 有D戲成本非常低,蝕極有個譜,唔宣傳都無咩所謂,因為都預左唔會大收,只係玩下刀仔据大樹!得就得唔得就下次再玩!但宣傳大都唔代表一定收得,入場慾同口碑都好重要!宣傳大只呃到頭幾日,要做得長而大收就要靠口碑,這是無可否定的!!所以部戲無咩宣傳而最終收得唔錯既就代表部戲好,有口碑,IE 志明春嬌;部戲好多宣傳而又唔收得的話…代表部戲根本就唔得IE 打擂台! 部戲係大製作又超多宣傳都唔收得,証明部戲係垃圾,IE 奪標!
所以宣傳只係附助而不是一切,戲既質素先係重要!
shtmanhk
票房欠佳便將所有責任推落觀眾及院商承擔/好戲一定要有好報,只有妄顧市埸規律及運作/毫無市埸概念之流才會口出此言.
港片在市場定位,排期,宣傳及發行模式不斷犯錯,才是問題重點之所在.
以上已詳述市場定位,宣傳及發行模式,本人將就排期作出探討.港片之間各不相讓/自相殘殺/兩敗俱傷/亳無默契的局面悠來已久,而且從來不會作出改善只有變本加厲,避重就輕又往往置諸腦後,現就今年的情況逐一指出:
1.鎗王之王 以一敵三正面對撼 (戀戰特務王/吸血新世紀3 北美香港同步, 史力加4 imax + 3D),再加上此片陽剛味甚濃仍選世界盃尾段上映 (2/7-4/7 10:00 pm 開波).雖然有 UA 全力支持,但這映期絕對害多於利.
2.出水芙蓉在兩部暑期最強荷李活片之下(反斗奇兵3 Toy Story 3 ,潛行凶間 Inception)究竟會有幾多生存空間? 前度 正面對撼 SATC 及 A Team / 唐伯虎 + 人間喜劇 也是近乎類此行徑.
3.蘇乞兒 vs 錦衣衛, 花田囍事2010 vs 72家租客 , 志明與春嬌 vs月滿軒尼詩,
前度 vs 分手說愛你, 人間喜劇 vs 唐伯虎2
港片樂此不彼偏愛安排同類電影同期同檔甚至同曰上映(09年2月那一大堆’愛’字片更是經典),荷李活奉行的 counter programming,主打客路定位有別不會互相搶客,即使本地荷李活片發行也是如此:
波西傑克森vs緣滿情人節,馴龍記vs 人．神．魔戰, 色慾都市 2 vs 通天奇兵,
戀戰特務王 vs 吸血新世紀3 vs 史力加4,
再單身遊記 vs 華爾街之金融大鱷
那些開口埋口只懂批評觀眾不支持之流,對marketing 一竅不通的似乎為敷不少.
shtmanhk
近年中型港片能突圉而出,鋪天蓋地的宣傳或具話題性的綽頭才是致勝之道.
分析文章
Ryan作者這文章欠缺提及一個重要現象！就是在香港不少華語電影出現的作大票房的這個現象，為何作大?如何作大?又如何能在數字上看出是有作大?我們這些小讀者亦想知喔！另外由於有這個現象，使競猜開畫日票房收入這一個遊戲頓感失色呢..
分析文章
影響華語片的票房數字的，還有一個人為因素……作大票房
Paul ng
根本《打擂台》係非主流電影, 唔適合作大型發行. 正如美國最近的Splice一樣.
PS: Splice香港由Golden Scene發行.
Paul ng
對美國主流大片商的電影而言, 好多時候, 宣傳是主導, 電影可以話係為宣傳部而拍.
shtmanhk
小型中型發行都難突圉
Larry
票房的高低跟出售 VCD & DVD 版權，及零售價是否扯上關係呢？
Ken
Mr Daydreamer, I disagree with your take. Look at how many box office reports and websites in America. Box office is big entertainment news there. Weekend estimates will become headline news or part of news report.
Rather, I think there are more sophisticated analysis of the entertainment
industry in America, and we should try to steer Hong Kong towards that direction.
I think this is a good thread to discuss this issue. Stop treating the entertainment industry as cheap gossip talk. Back in 2003 when he accept bronze award for the year’s top male recording artist, Eason Chan kneel on stage begging HK’s media to talk more about quality of work and less about gossip.
7 years after, we have not moved on still.
Ken
I support your take.
Ken
What are you talking about? shtmanhk did not talk about 《打擂台》!!
Actually, 《打擂台》’s box office is ok, dropping less than 50% yesterday from its thursday debut.
shtmanhk
不知新寶旗下5院加埋佔單日票房幾分之幾?
kwok
今朝check過佔左大半, 唉, 自己呃自己, 都唔知為咩
kwok
“dropping less than 50% yesterday from its thursday debut”?????? 剩係睇新寶旗下既篤數水份, 分析票房仲有咩意思, 呢個問題值得大家深思… shtmanhk說的話時常一語中的
The Daydreamer
I think we’re talking past each other. Of course there’s box office talk in foreign countries- but this is confined in the industry trade publications, and read mostly by those who work in the industry (as well as some ‘serious’ film fans).
What I’m saying is that I seem to notice that a lot of REGULAR HK moviegoers (which I’m assuming is the majority of readers of this blog) seem to have a peculiar instinctive concern for a film’s box office success. There are very few places where the film posters HABITUALLY have ‘票房冠軍’ plastered on to them. It’s also bizarre that HKers, whether they’re just regular moviegoers or film ‘commentators’ (I’m not saying all of them- some serious minded ones avoid this thank god), just have to talk about box office receipts when discussing a film.
I do understand that a lot of readers of this blog are supportive of HK film industry and want HK films to do well, so box office talk here is inevitable. But sometimes I wonder whether this is synonymous with HK’s 睇錢份上 mentality, and it’s not a healthy thing in my opinion.
The Daydreamer
Also, there’s more box office talk in US because Hollywood is such an important industry and symbol of American culture: everyone (well, most) wants American films to do well and conquer the world. The quality of Hollywood films, however, is a different matter…
Ken
But sometimes I wonder whether this is synonymous with HK’s 睇錢份上 mentality, and it’s not a healthy thing in my opinion.
You are right with the above quote.
Ken
Hong Kong’s movie industry and entertainment industry were also once very influential overseas. We also used to have box office figures and music sales figures more readily available, albeit not in the most transparent manner as possible.
Not sure if HK or Chinese people like to save face, and since our industry start to descent commercially, these figures are no longer as widely distributed to the public as before, whereas America become more and more transparent even when their own industry is also deteriorating.
Anyway, I never believe HK people care about our own future and is mostly chasing after popular trends, i.e. short-sight. It is in this sense that I agree with you that if they talk about box office, they really mean whether they have seen the most popular movies.
shtmanhk
票房當然重要,因為牽涉當地電影工業的生死存亡.
Bud
Splice is not a very good comparison. Kick Ass is a closer comparison to 打擂台.
For a Hong Kong-oriented, Cantonese-speaking film, very often, going wide and hoping to make as much as possible in the local market is the only option for local filmmakers. The problem with Hong Kong is the local market is too small to accommodate a large enough audience for every kind of films. Releasing a film in a medium-wide or a limited platform and playing to only a niche audience won’t work for films primarily made for HongKongers.
jerrychan
jerrychan
荷里活有嚴格的排片制度,唔會出現同類型電影互片的愚蠢情況,係因為他們視電影為商業產品,公司CEO要爭取最大回報.
但係香港電影的傳統是由老闆話事,老闆炒樓炒股票晉身有錢階層,拍電影只不過係宣傳自己,電影票房可以只係為啖氣,將同類型電影放係同一日子上映,就好似變成老闆之間的牙骹戰,到票房唔夠好,就要輸人不輸陣,作大條數寧益稅局都要反勝對手,永遠自我感覺良好.
即使現在具規模的院商佔有率越黎越多,篤數情況收歛,但係日子有功,票房已經變成粉飾廚窗既一種手段,而並非用黎研究電影市場轉向.
電影停留於山寨廠經營模式,輕視市場調查同數據,往往單靠電影人的直覺,結果新人太新未有市場觸角,舊人思想未能轉移就同新興市場脫節.
要港產片可以重回娛樂市場的主流,仍然有一大段既功夫要做.
愛電影
何解版主刪掉了shtmanhk兄關於打擂台一片真實票房分析的資料提供?
Ryan
離開主題的文章或有可能被刪去而不另行通知。
要專談單一主題的大可以投稿，本網誌一直歡迎投稿，惟個別讀者並沒善用有關功能，不斷離題，故予以刪除。
shtmanhk
這點是本人一直都覺得匪夷所思,尤其當中不乏上市公司.
Ken
Unfortunately, they can also inflate the expenses of the movie. Thought this is always practise in Hollywood.
shtmanhk
由票房歸納而得出 market share 的比例(基本可收窄至本地片:荷李活片),可直接反映出當地電影工業的生態是否健康或蓬勃.
香港現時荷李活片過七成甚或近八成市埸佔有率,台灣則是荷李活片長期九成以上市埸佔有率.
shtmanhk
90年代中期隨著荷李活片逐漸入侵本地市埸,傳統院線發行模式隨之崩潰,兼日漸現實及市埸主導,此對港片日後的生存環境造成很大打擊.
另外90年代起戲院徹底’中產化’,觀眾結構隨之質變:草根沒落,教育水平提高,女性主導,青年主打.
荷李活片在本地大行其道,著重市場定位及嚴格排片制度,港片根本不擅於此,因此市埸佔有率只有下跌之路.
綜合上述所有因素,港片的問題根深蒂固,難以解決,束手無策.
shtmanhk
近年港片賀歲至五一前後都是全年票房表現最好的時段(三至四片逾千萬),五月後荷李活暑期大片出籠港片往往就變成一池死水.
無疑今年頭四至五個月港片比以往好,但今年暑期港片還能如去年般三片逾千萬嗎?
相比起 2000年中至2001年中的港片小陽春,尚有一大段距離.
《72家租客》,《歲月神偷》,《志明與春嬌》,
《葉問2》其實都是個別的成功例子,也不代表往後有延續效應.5至7月那一大堆中小型製作,オ是最大考驗.現時看來,維多利亞壹號 應是分水嶺.
shtmanhk
本人並沒有關於打擂台一片真實票房分析的資料,也沒有留下打擂台票房仔細分析的片言隻語;本人
的資料僅來自 now 及 filmmart,所以有關打擂台詳細票房分析的留言絕非來自本人.
版主可隨意刪掉任何冒充本人所發出的留言,但請不要再刪掉此文.