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Today, the non-members of "We Can’t Fall in Love" officially closed. The love teaching demonstrated by "Zhao Jiangyue X Gu Jiaxin" also achieved full-scale customs clearance with enthusiastic feedback from the audience: during the broadcast period, it won a total of 300+ hot searches on the whole network, topped the list of Youku with the popularity of 9741, and the number of related topics in Tik Tok reached 4 billion+,and all the data were brilliant, which was a circle explosion in the theme of brother-sister love.
Not only that, "We Won’t Fall in Love" has been on the hot list of Guduo online dramas for several days since its membership closed on March 1, showing a long tail effect different from ordinary sweet pet dramas.
This achievement is both expected and hard-won for Zhao Munan, the chief producer of the first independent fencing project. When talking to Gu Duo, she said frankly: Because "We Won’t Fall in Love" is an original project, there is no aura of big IP, and there is no lineup blessing of S-class team, so the advantages of the project are not obvious at first. Fortunately, Youku has given strong support and trust. After fully communicating with the platform about the market demand for "brother-sister love idol drama", Zhao Munan became more and more clear about the creative direction. "Since I want to do this project, I have to let others see what is the difference between it and other projects." Although the cost of the basic disc is not large, Zhao Munan is determined to make the play exceed expectations and started the road of "finding a good match".
"We will not fall in love", I know "adaptation" very well
When Zhao Munan looked back at "We Will Not Fall in Love", a word repeatedly mentioned was "adaptation", which was her most intuitive and deepest feeling about this project and a core concept that she firmly grasped from the script stage.
Because at that time, both Zhao Munan and Chen Xinyue, the screenwriter, were faced with the problem of getting rid of the single, just like Zhao Jiangyue in the play. How to construct a discussion on the topic of love in the real context in the play was a problem that they pondered for a long time when polishing the script.
"Because there is a need for coordination between people and the environment, how can everyone naturally output their opinions in this love topic? Then a love APP that combines the nature of pairing with love teaching is a good setting." With the real experience as the foundation, and constantly getting the knowledge of young people about love from social platforms such as Little Red Book and Tik Tok, Zhao Munan finally decided to start the first step of adaptation from the love APP.
However, before the official launch of the project, Zhao Munan made a preliminary screening and comparison of novels involving brother-sister love on the market with his housekeeping skills he had practiced when he was doing IP operations. She knows that the innovation that can be brought only by the topic of love theory is indeed limited, so she incorporates comedy elements and "double strength+sense of growth" in the content, which breaks the stereotype of sweet pet drama to some extent.
Of course, in casting, Zhao Munan also followed the principle of adaptation all the way. "I mainly considered three points at that time: First, the degree of fit between actors and roles; Second, whether the artists’ own traffic scale and nature can be equated with our drama demand; The third is whether they can collide with the opponent actors for fresh and interesting chemical reactions. "
With a small amount of budget, Zhao Munan thinks so and does so. "Because I hope to give a platform or a market, a’ top-notch’ choice beyond the projects at the same level, then this grasper is Gina and Ziyi." When all the elements have found their best positions, a project may have the most ideal market performance. Obviously, Zhao Munan knows this well.
Making a drama is like doing a math problem. You need to find the optimal solution.
"I have no other choice but to take my team to do’ math problems’ every day." This is how Zhao Munan, a first-time producer, really feels when controlling costs.
"We Will Not Fall in Love" is an urban sweet pet drama, and the overall production volume is not large. In order to reduce unnecessary expenses, Zhao Munan chose to do it himself, such as personally finalizing the wall color of Neighbor Technology, one of the main scenes, and announcing the entry and poster content one by one. Behind these things is Zhao Munan’s understanding of the identity of a producer.
Zhao Munan turned from an early writer’s agent to a newcomer’s producer. Looking back after her successful debut, she found that, unlike focusing on the IP operation of writers, the producer in this new identity needs to distract her eyes and form a unique discourse system to adapt to the change.
"Because producers need to clearly convey their knowledge of the project to everyone, whether they are facing platforms, artists or cooperative teams, they must use their logic to make the other party understand." This is one of the reasons why Zhao Munan will focus on everything in the specific trading process and grasp it step by step.
This kind of cognition also played a different role when she led the team to overcome the mathematical problem of "cost". Finding the optimal solution before spending money is the most common thing she did in this project.
"For example, the love market, lovelorn museum, blind date, etc. in the play all need real-life construction, but we will consider how to spend the money on the cutting edge, so we reached a cooperation with the Suzhou government and got a free venue like Wetland Park. Then we chose cheap and beautiful KT boards for some scenes, and finally we got good picture effects and controlled the cost."
However, "the local province of the province, the local flower of the flower" is also a point that Zhao Munan has always implemented when making films. "For example, I can’t let Gina and Ziyi wear fake brand clothes, because their roles are there, and I can’t cheat." The fit within the budget is precisely Zhao Munan’s practice of the concept of "adaptation".
A play, a universe,
Zhao Munan’s production thinking is built from here.
Zhao Munan, who achieved gorgeous transformation through "We Can’t Fall in Love" for the first time, still habitually calls himself a "novice". Although We Won’t Fall in Love has brought her a lot of experience, and now she has begun to devote herself to new projects, in her opinion, these precious "novice experiences" may not be applicable to other projects.
This is not because Zhao Munan is not good at using experience flexibly, but for her, "every project is an independent universe". She classifies her own thinking orientation as another product logic that a producer must have, that is, each project is an independent product, besides drama logic and market logic.
This point can be seen from the trading methods of specific projects. As an idol drama, We Won’t Fall in Love is inherently blocked from other types of themes such as realism and suspense drama in the market competition. However, if it is subdivided, it is also different from ancient dolls.
"Take the same level of projects as an example. In fact, an ancient puppet with a length of 30 or 40 episodes, especially Xian Xia, does not require very high traffic for artists, while the current puppet with a maximum of 24 episodes needs to be in a shorter broadcast tape, relying on the artist’s own texture and fan enthusiasm to lift the air." This is one of the reasons why Zhao Munan prefers to spend part of his budget on casting when he creates We Will Not Fall in Love.
When Zhao Munan’s eyes were drawn away from specific projects and returned to the overall level of "evaluating whether new products are worth putting into production", she also had a set of her own measurement standards.
"First of all, let’s see if the story itself is well written and interesting enough; Secondly, what is a good method if it is good? This needs to be made clear after the initial screening, homogenization test and competitiveness judgment of all the same types of subjects. Finally, in addition to the quality of the project itself, we must return to the topic of adaptation, that is, whether we and the team have the ability to take over this porcelain work. " These are the three grasping hands that Zhao Munan can’t do without when evaluating how feasible a new project is.
Next, Zhao Munan, who holds the copyright of foreign big IP remake, is about to start Jinjiang S-class IP film and television projects, and the emerging Guangmei pictures behind him will continue to focus on women’s emotional track and give an optimal solution beyond production expectations by "adaptation".
