- il y a 2 jours
Producers Max Jiang and Joy Quinn break down how they built Nine Sixteen Productions into a powerhouse in the vertical drama space. From cultural localisation challenges to casting strategies, pacing formulas, and cracking the U.S. market, this deep dive reveals the real mechanics behind microdrama success. Interview by Wenwen HAN.
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Art et designTranscription
00:00Would you please introduce yourself and your role in short drumming?
00:03My name is Joy Quinn. I'm one of the producers, the co-owners of 916.
00:07I'm also the production design and I guess the artistic director of the company.
00:11My name is Max and I'm a co-owner of 916 Productions and I'm a producer.
00:18How do you co-founder this company?
00:20We started our first project under my own, actually, under my own studio.
00:24I was in Italy helping my friend producing, running her piano festival.
00:29And I heard someone in Kansas City was looking for a production team.
00:34Like they were looking for a team, we chat groups.
00:38And so two people reached out to me.
00:42And then somehow we just started doing this, our first vertical project in October 2023 under my own studio.
00:53And then after that, we have to form some sort of partnership.
00:57So we started, we started, we formed another company, specifically just do verticals.
01:03How will you define short dramas and what do you think it's their essence?
01:09The essence of a vertical is taking essentially a soap opera that's heavy in fantasy element.
01:15I feel like we're filming a romance, the romance genre, like a romance novel, but in very compact, condensed format.
01:25Obviously, the whole length is as long as a movie, but it's cut up very TikTok style of each ranking
01:31from a minute, 90 seconds to no more than two minutes.
01:34And so every line is essentially a hook.
01:38There's a hook, there's a punchline, and it just keeps people engaged.
01:42I feel like people are addicted to the dopamine hit.
01:46You just want to keep going.
01:47It's the high that you get.
01:49I feel like it's a way for people to escape everyday life.
01:52It's a fantasy.
01:53And it's definitely, it doesn't require your brain to focus to sit and watch a whole movie.
01:57It's definitely like candy, like candy, like dessert and candy in a short format.
02:03We get the visual appeal of like super attractive male leads, female lead, your ideal type.
02:09And you get the feeling of when something that's not right to become right.
02:15You know, if it's romance or the helpless heroine, like, you know, and getting rescued by a billionaire.
02:22It's like every female fantasy coming true, including fantasy, werewolf, vampire.
02:25And I'm happy to see that the genre is expanding.
02:29And that's always exciting to see.
02:30The industry now has been calling it microdrama or short drama.
02:34So I think the name just speaks for itself.
02:37Pretty self-explanatory.
02:39And I think it's just like TikTok style drama steroid.
02:44And we call it vertical on the production side, because how is the way it's being filmed or the way
02:52it's being edited.
02:53So we call it verticals.
02:54And the verticals are pretty common.
02:57Like, I think all the actors and all the crew in the industry are calling it verticals.
03:03What are the key differences between short drama and other films, such as film or TV series or commercials?
03:09It comes down to the core difference is the writing style, I feel like.
03:14How, I mean, like it's condensed TV series.
03:18But like the total length is like a feature film.
03:22So, but like at the end of each episode, there's like a really strong cliffhanger.
03:27I feel like from a structure perspective, that's the biggest difference from traditional feature films.
03:34Even though the total length round time is almost the same as the 96 and 90 minute product.
03:43On the acting side, it's also, I don't want to call it theatrical.
03:49It's more heightened acting.
03:52So, acting is also a little bit different from what you would see on cinema.
04:00Might be closer to TV.
04:02And then editing wise, there's a lot of sound effect.
04:05There's like a lot of dings or whoosh.
04:07I think these are the main differences between verticals and traditional filmmaking.
04:17I'm a humanly fast productioner on time.
04:20It literally, I call it the fast food of film.
04:24It's literally fast food.
04:26It's fast, it's cheap.
04:27It's addicting for some people.
04:31But it's, everything is so condensed, compact.
04:35Where, you know, we're talking about pre-production, two weeks to four weeks, you know, four weeks, four weeks, if
04:40you're lucky, filming six days to nine days.
04:43Nine days, if you're lucky, post a month, you know, a month and a half, no more than two months.
04:49But usually, it's just such a short turnaround.
04:52But I feel like that is the way of society, right?
04:56Everything fast and now, immediate gratification.
04:59The clients allow you to do the post-production in the U.S.
05:03Or sometimes I heard that clients take all the filming footage back to China and do the editing.
05:08Depending on the platform, we have been taking care of post-production for all our previous projects, except for this
05:16upcoming one.
05:17We have been doing a lot of post-production.
05:19So when you receive scripts from platforms or clients, what kind of script issues will you usually have to fix
05:27or adjust before the production?
05:29It's usually localization, grammatical errors.
05:32A lot of scripts are obviously written by Chinese writers.
05:37And so a lot of culture differences, and there's, like, certain nuances that needs to be addressed, which would make
05:46sense for a Chinese audience and would not make sense if you translate it literally.
05:50So you've got to take note of that and localize it.
05:53But we are very lucky to have written our own, like, quite a few, our own original scripts.
05:59Six.
06:00Six.
06:01Yeah.
06:01So which is, like, fantastic.
06:02That is one way we go about it.
06:04But I feel like there's a lot of similarities when it comes to the trope.
06:12It gets repeated.
06:13So once you figure out the flow of one script, you pretty much figure out quite a lot of them,
06:19for sure.
06:19Can you give me an example of what kind of mistakes those Chinese writers make or, like, they don't know
06:26about the culture?
06:27So, for example, a very, very, very interesting one.
06:30So in Chinese, there's a phrase that, like, it doesn't get translated really well.
06:34It says, once the rice is cooked, what does that mean?
06:37For American audience, what does it mean, having a rice cook?
06:40Are we talking about cooking?
06:41No.
06:41We're talking about shen ni zhu chen shu fan.
06:44Literally means once someone that has not been intimate is now intimate, we're talking about a sexual thing.
06:52And the audience would have no clue.
06:55Does that make sense?
06:55Pregnant.
06:56Yeah.
06:57Or being pregnant, for example.
06:59So it would be sudden phrases like that, which if you do a direct translation, the audience will have no
07:04idea.
07:05And how you express certain things and how you flirt in the culture.
07:08Any other example for those are just a few sentences I think maybe it's easier to translate.
07:16The biggest difference, I think, the genre, I feel like it's very new.
07:20And I feel like in the Asian culture, Asian audiences like to see more of the weak female that's been,
07:26like, just rescued by this perfect male figure who's dominant, who's rich, who's willing to die for her.
07:33Which is kind of maybe true for America, too.
07:36But I feel like in here, audiences would do well with a stronger female character with a voice.
07:42Does that make sense?
07:43But then it's also the appeal of seeing revenge drama.
07:46So I just think genres and people's tastes are very different.
07:50And what I think America considered attractive for a male actor may be a little different.
07:55So that's what I see.
07:56So I think there is, when I work with platforms, there's definitely sometimes a discrepancy of what I think American
08:02audience would consider attractive masculine versus attractive female than the Asian platform.
08:07So a lot of times we kind of have to figure out, okay, what does the client want?
08:12Obviously, whatever the client want, we deliver.
08:14Whether or not it kind of fits with the American beauty standard, you know what I mean?
08:18So that is a huge culture differences there, I feel like.
08:22For another example, fashion statement.
08:24Oh my gosh, that's a huge one.
08:25In China, I feel like there's an idea of the character needs to be this pure white lotus.
08:31Like, you know, you know, pure, really frilly dolly dresses, things like that.
08:37I don't think American would ever see that as fashionable or taste.
08:42Does that make sense?
08:43So there is some discrepancy of what is attractive or what is a female lead.
08:46So I think platforms sometimes view it very much in a different lens, which is fine.
08:52You know, we try to create what makes a platform happy.
08:54But sometimes that sells.
08:56You know, sometimes it doesn't.
08:57So it's a learning process to how to blend the two cultures effectively.
09:01But I think American cultures are starting to lean.
09:04Maybe they kind of like it.
09:06It's so different.
09:06We like what we don't have.
09:08So I think that is an interesting point.
09:10Do you want to, do you know what I'm, if you know what I'm saying, if you want to add
09:13on to that, Mac?
09:13I can give you an example.
09:15A project we've done.
09:17So there's some cultural difference we have to adjust in the story.
09:22Like I think in Chinese language, there is a lot of, a lot of hierarchy in language.
09:28When you're calling people, you know, you call people uncle, auntie, or you don't call them by their name very
09:35often.
09:36And then you could just call, it's very common to call, you know, in the language, just flat out, just
09:43call brother-in-law or sister-in-law.
09:46But English doesn't work like that.
09:48So we had a script where the trope is like the taboo love between you and your brother-in-law
09:58or you and your sister-in-law.
10:00But they're like addressing them as, you know, brother-in-law, like all that.
10:07So we have to, and then how they call people, you know, almost like in Chinese, they're calling them like
10:13master something.
10:14We have to localize that to make it something more natural and flows.
10:20What kind of guy the Americans like?
10:22Honestly, I can't speak for everybody, but there's definitely a taste of why taste in men.
10:27But with, as a whole, we like our guys very masculine.
10:31Masculine are generally like masculine.
10:32And I feel like a lot of TV, like the attractive guy, the superhero types, the really strong buff.
10:38Does that make sense?
10:39Really scruffy five o'clock shadow.
10:41But generally that's not true.
10:43We like right now the, I feel like a lot of vertical stars are more clean shaven, very pretty K
10:48-pop style.
10:49Makes sense?
10:50So I think that is more of an Asian aesthetics, but I think that's changing.
10:54A lot of younger people is leaning more towards that way anyway.
10:57So I feel like it's kind of, we're, we're in a land of like, you know, internet.
11:02We, we're, we are used to seeing all kinds of cultures, but I do think we have advantage because we
11:08are bilingual.
11:09I think a lot of American production teams who takes, who does not read the traditional Chinese script will miss
11:15a lot of details.
11:16That does not get translated well.
11:18For example, if I, like the phrase that I just said, cooked rice, they would be like, what the heck
11:22are they talking about?
11:23And just ignore that sentence completely.
11:24Whereas we know what they're talking about and try to, how to do that flirty line instead of taking it
11:29out.
11:30We do that line effectively in the English language.
11:32That would make sense.
11:33I want to say everyone's taste is different, right?
11:35Even in China, everyone have different tastes.
11:38Oh yeah.
11:38You could just take a look at who has been popular in Hollywood or whose faces are on Netflix.
11:45And that's kind of like the mainstream, I feel like aesthetics in the United States.
11:50But coming back to what Joy just said, I feel like we know, I learned a lesson the hard way
11:57is to, I have to read the Chinese script.
12:01If there is one, I have to read that side by side with the English script.
12:06Because our last project, I did not read the Chinese script.
12:11And then there were, they translated some location differently, even for the same location.
12:20So they did not like unify that.
12:23So I took that very literally.
12:25And we just had some confusion in our schedule and the location we were looking for.
12:33But when the platform rep came on set, they were like, no, you guys totally misunderstood that.
12:39You could avoid that if you read the Chinese script.
12:43That's interesting.
12:44That's a learning curve.
12:45I think there's not really a good, it's like if, unless the company keeps working with teams like us, who's
12:52literally bilingual, who can speak both languages fluently, who understand both culture equally and not just working with us.
12:59So I feel like a lot of these, so now more professional production teams are jumping in.
13:03People with Hollywood credit, people with Netflix credits are jumping into the vertical game.
13:07But earlier on, it's mostly international students who's filming this.
13:11You know, that's the beginning.
13:12So I feel like it's a huge jump here, which is good.
13:15But at the same time, I think platforms should essentially, instead of putting their own taste or opinions when it
13:23comes to this, maybe look what sells well or what is, and trust the local teams.
13:28If they're working with someone that's not local to trust them into bringing their vision to life instead of trying
13:35to control, I mean, obviously it's their product.
13:38They could do whatever they want, but just so it sells well, better with American audience, I feel like they
13:44should study into that.
13:45They should literally do a study on what is, you know, aesthetic.
13:49But I think from our experience two years ago, I feel like the casting two years ago were very tailored
13:59to Eastern aesthetics.
14:01So, you know, no beard and very V-shaped face.
14:06But recently, I feel like even in the vertical space has shifted more towards American aesthetics as well.
14:13So I know like a lot of like now big time casting directors have also moved into this space as
14:20well.
14:21So, which means the platform is also learning, gradually learning.
14:24Gradually.
14:25Yeah, everyone's learning.
14:27I interviewed other people.
14:28They said before the platform, the client just wants some pretty boys, like more model, like looking, but not very
14:37good at performing.
14:38But right now they pay more attention on how they act.
14:42They do pay attention to the way the acting, my response, but what they pay attention to the most is
14:48experience.
14:49They want actors who has been in the vertical space, who can act, who looks good, and who has a
14:54large social media following in the vertical world.
14:57So it has, I guess, study shows that if you cast a male lead with enough followers, with enough vertical
15:03experiences,
15:04the chances of the show going viral is a lot better than someone who's new, even if they're good at
15:09acting.
15:09So social media presence is a huge factor.
15:12And their acting experience is in the vertical market.
15:16That's usually what they, that's what they usually say.
15:18They said they want of someone to work like someone viral in the vertical market is what the term that
15:22they use.
15:22So if someone wants to get into the vertical acting, what's your suggestion?
15:27Don't aim for the lead.
15:28You're not going to get the part.
15:29You're just not like aim for the support.
15:31Be good looking.
15:32There are rare cases.
15:34So unless you have like a million to two million, like, or a large, a large social media following,
15:39and you could convince the production team that's cast or like the production team that's working with the platform,
15:43say, hey, let me audition for the lead because I have enough social media presence.
15:46And if they look amazing, they look amazing, have a great acting ability, then yes, they do have a chance
15:53to get discovered.
15:54And that's what a lot of people are trying to do is discover vertical stars.
15:59Does that make sense?
15:59So a lot of people are looking for new faces, fresh faces, but I think the key is to have
16:03enough social media following or you apply to be the support and not the lead and at least have a
16:09chance to be on camera and prove yourself.
16:11And for us personally, we discover two female leads that is now becoming very popular in the vertical world.
16:17And they first worked with us.
16:18They worked many film with us and they're from Kansas City.
16:20We, one, sadly moved to LA, you know, the lead that we cast for this current project.
16:26She's also located in Kansas City and she's flying all around the world to do verticals.
16:30And we are very proud.
16:31We discovered her and now she's becoming popular.
16:34So, two.
16:35So there you go.
16:35That's how you do it.
16:36And I think just treat every audition sincerely and be prepared because sometimes you might not get this role, but
16:45at least we keep a database.
16:48If you are good and then, but you just doesn't, you don't fit this role and then we'll keep you
16:54in mind for future role that might, that might suit you and we'll reach out to you.
16:59And I know some platforms are doing this as well.
17:01They're keeping their own database.
17:03As a producer, what's the core element you always make sure to bring out from script to screen?
17:10We treat every project like, just like a feature.
17:15We put 100% all in.
17:18We do insane.
17:19So, like, what's different about us versus other production team is we're incredibly organized.
17:24The amount of production planning we do is pretty mind-blowing.
17:26And we've talked to so many directors and crew members who's blown away by our production plan.
17:31Who's like, whoa, I've never seen anything like that.
17:34And I've been in the vertical game forever.
17:35We do extensive lookbooks, location, props, everything.
17:41And we go as far as essentially every scene that we shoot, I will literally Photoshop and create a picture,
17:48an image of what the room looks like before, what it's going to look like when we're filming.
17:52I do that.
17:53And most production teams do not.
17:54So that kind of makes platforms trust a little bit more because we are very organized.
17:59And we give it our best.
18:01And we make sure everything looks beautiful on screen.
18:05And we definitely are not the production team that takes two or three, four shows a month.
18:11We literally just take one or two shows a month, make sure we do it right, make sure we give
18:16it all.
18:17So that's what we do.
18:18To add on to that, I think as a producer, the most important thing is to bring the script to
18:25life, to bring the screenwriter's vision to life.
18:29And of course, to make the platform happy, because we are party B, we're not party A.
18:37And also support the director's vision as well, in any way to support, to bring their vision to life, to
18:47provide adequate resources to them.
18:51So, and also, I think be very responsible in casting as well.
19:00Sometimes you got to speak up if you think something is not right, or something we think is right, we
19:07could, you know, discuss with the platform.
19:11Essentially, we all want to produce a good show, a good product.
19:16But I think that's what I just said.
19:18I think, in my opinion, that's the essence of the responsibility of producers.
19:23In China, we say when writing short dramas, pacing is everything.
19:28So, of course, when you receive the script, the script is mostly fixed.
19:33And how do you control pacing of short dramas from producing, point of view, and from the post-production perspective?
19:42I coded my own studio binary system.
19:46So I have one tab where I can run each episodic length, like page count.
19:54So on the graphic, I can see how many, visually, how many pages are there for each episode in comparison.
20:03And I put like a 1.5 benchmark line there.
20:07So that is the quickest way.
20:09That's a quick way for me to gauge the page count.
20:13Because that essentially, if your first episode is like three pages, you will end up in like five minutes.
20:20So that also directly affects your pace.
20:24But like when we are reviewing the script in proper production, I personally will mark up all the beats.
20:34Like I'll mark up romantic beats, intimacy beats, dramatic beats, and hooks.
20:41If there are any hooks at the end of each episode.
20:44And then we'll kind of like analyze them and see if the pace is strong enough or not.
20:51And then we will sometimes we will bring our concern to the platform, to the screenwriter, to discuss,
20:58hey, we think this hook is not strong enough, or there's not enough hook by the paywall.
21:03So that's how we gauge the pace in pre-production.
21:09And in post-production, if the script is already pretty good, and then the director and the team has done
21:16a good job,
21:1790% of the time, the post-production will go pretty smooth.
21:23Because they have edited way more verticals than we have produced.
21:28So they're already experienced.
21:30Most of the time, it's the platform, and the director is giving notes.
21:35You know, sometimes the director will remember, okay, this take was really good, but they did not use.
21:42That's most of the time the director will give the notes about.
21:45And the platform will give a lot of notes about, okay, this episode seems too long.
21:50And then they just cut out the section.
21:53And then they will give a lot of notes in music as well.
21:56And all these in combined will help with the pace in post-production as well.
22:02How do you create emotional resonance with the audience?
22:05We've created six original, I would say 5.5.
22:105.5, because one of the six was a rewrite.
22:15Despite how this is the new product or new form of media, but essentially still storytelling.
22:22So I think it's important, no matter how rich you are or how much power you have, I think the
22:30most important core thing still comes down to if the character has flaws, if they are relatable to the audience.
22:39I've heard from my producer friends and actor friends, like they're getting tired of that.
22:47And they never liked a lot of the roles they've played.
22:51They want to play roles.
22:53They are more dimensional or they have flaws and they can relate.
22:58We're actually writing a script for another company.
23:04And then I actually, I was involved in the writing part.
23:08I co-wrote the treatment, which was really fun.
23:11So when we wrote the treatment, still, you know, we try to give the main characters a lot of ground.
23:19And then just, I think, having, creating from the female gaze in the script development process is really important.
23:29And then finding that on set is also very important.
23:34So creating from the female gaze and also making the characters more relatable.
23:41I think that's really important.
23:43Having a character that's more relatable, but also having the fantasy elements, I think, is really important.
23:50Because what's the point of having a relatable character when it's not fulfilling a desire that I think some viewers
23:57wish they had in real life?
23:59It's obviously not real.
24:00Just like the ideal of ideal person who will do anything for you or to be able to have your
24:06life go change your life in that way.
24:08I think a lot of people really do see it as an escape, as a fantasy.
24:14And that someone, so I think the female lead itself, it needs to be more dimensional, more realistic, so more
24:20people can latch on and be like, oh, that could be me.
24:23I could have someone to sweep me off my feet like that.
24:26Does that make sense?
24:27It's the lure of rising to greatness to right all the wrongs that they've ever experienced.
24:34I feel like that's definitely a theme of all verticals, right?
24:39Happy ending, happy ending, like ever after.
24:41Being a good person, it's off.
24:44So how do you create characters that resonate with the audience, that the audience can relate to?
24:50The female lead?
24:52You create someone, yeah.
24:54So it's either, I feel like the two strongest ways to resonate is one, usually the female lead has been
25:00wronged or abused.
25:03Emotionally, physically, her life is not going great.
25:06And you know she deserves so much better.
25:08You do know she deserves so much better.
25:10So how does she achieve that?
25:12And how does she triumph from someone who's evil, usually this mistress or the second girl who's trying to get
25:18the same guy?
25:19Does that make sense?
25:20How do you, what can she do to outsmart or do to have the villain of the story be punished?
25:27We want to see justice.
25:29It's a human psychology.
25:31That's what makes us feel good.
25:32It's the dopamine rush of, oh my gosh, I can't believe she's been so wrong in her life.
25:36I need the gratification of seeing what is wrong being put to write.
25:41That literally is the resonance for, we all have, right?
25:44We always want the hero to win.
25:46First of all, I'm no screenwriter.
25:49So it's just, speaking from my experience from, you know, producing all the shows and then talking to all the
25:55creatives and to the directors,
25:57I feel like sometimes, despite the female gaze, we need to film, literally, you know, the female gaze to film,
26:07the apps and all that, and how they view the male.
26:10And also I feel like in both writing and filming is to create how the female leads or characters wants
26:21to be treated in real life.
26:24And then, I mean, even like for the male leads or character as well, to having some authentic, vulnerable moments.
26:36And then, and for the female, for the character development, they crave and want to be seen.
26:43I feel like that's what's, I think that's important.
26:48I think that's the human condition.
26:49So I think in the digital age where we are supposedly be more connected than ever, we're disconnected than ever.
26:58And it's really rare for us to find somebody who truly sees us to be seen as who we are.
27:03So to have that connection, that chemistry of someone who gets you, for example, the rich guy who is really
27:10cold on exterior,
27:10who does not see his inner world, to have somebody who is so different from him to be seen like
27:16that.
27:16So it goes both ways, female and male.
27:18And that goes hand in hand with chemistry, goes hand in hand with being seen completely and understood and be
27:25right and just justified.
27:26So that's more into what you said.
27:28Exactly.
27:28That was really well pointed out.
27:29Yeah.
27:29To be seen.
27:30I literally had that when I was, I was creating a new script around that concept.
27:36Will you give any suggestion on the structure of the whole script writing for Verticals?
27:41I think the timeline is pretty, pretty harsh, pretty tight.
27:48And then so basically the process goes like the screenwriter and the production house are proposing, propose an idea to
28:02whoever platform or client.
28:06And then this could be a one pager, could be just a log line, could be a concept and could
28:13be a synopsis with a few episodes.
28:15So different forms or different, different forms of proposal.
28:19And then you work on getting approved and then you get as much direction as possible from the client.
28:30And then from there, you go write out the episodic treatment, which takes, I think, anywhere between seven to 10
28:40days in this.
28:42And we have found out, we, I think it helps the creator is to give each episode like a name,
28:51like a short name.
28:52And then you write out each episode, the treatment, a summary of each episode.
28:57And then you write out the hook of each episode.
29:01And then you work with the platform to get this approved.
29:04Sometimes, most likely, there's a rewrite on the treatment.
29:09And after that, you move into the actual screenwriting, which takes a week or 10 days.
29:18And then three rounds, just like post-production, like three rounds of revision.
29:22And then that's, that's the process.
29:25And then any pointers I could give, give for, to the script development process.
29:32When it comes to the structure, I think writing itself, obviously, you have to end every episode with a hook
29:38and a punchline of some sort.
29:41That's usually the writing process when it comes to actual writing the script itself.
29:45I feel like there's a formula.
29:46Once you watch enough verticals, you will kind of, like, most people will understand what a vertical is all about.
29:52It's the punchlines and the hook that makes you want to keep scrolling into the next chapter and the story
29:57be compelling enough for an audience to pay for the whole show.
30:01Every project is different and every platform is slightly different as well.
30:06They look for different things.
30:07So we have created a lot of, like, script with very intimacy heavy.
30:13Like, you have to have intimacy by at least, we have to have intimacy by the end of episode one
30:21or episode two.
30:23So we took the same mindset to develop the current project, but the client didn't like that.
30:31So for this project, we didn't have intimacy scenes till mid-story.
30:36So I think that it's very important to stay communicative with your client and ask what they want and the
30:46direction and the vibe and then go from there.
30:49I don't want to avoid a lot of re-write.
30:51That's, like, I guess that's true for not just script writing, but for essentially every show.
30:56Make sure I have this conversation so early to the platform because before, when we first did this, we had
31:01no idea, no experience.
31:02You know, everyone has to start somewhere.
31:04We were casting people that was pleasing to us and the platform hated everything.
31:08So you have to kind of, at the beginning, before you even start, say, what is your goal?
31:12What is your beauty?
31:13Like, what is your vision?
31:17What is the vision of your film like?
31:20What do you want the character to be?
31:21Give us examples.
31:23And usually then the platform will provide examples and then we do it their way just to make sure we
31:28give clients exactly what they want.
31:30In the States, verticals are still dominated by CO or romance stories and other types of stories that you think
31:38could be explored and why.
31:39Oh my gosh.
31:40Horror, thriller, sci-fi.
31:42Here's the reason why.
31:43Horror, thriller, it has the same pacing as a vertical.
31:46I feel like it has a lot of potential and I think there's enough interest that will keep people, I
31:51think, engaged.
31:51Sci-fi, because of the advancement of AI, the sci-fi scenes could be very easily done now with the
31:58advancement of AI.
31:59So, I think those are definitely genres to be.
32:02I agree.
32:03I think the nature of horror or thriller, the storytelling fits really well with the structure of verticals.
32:13And we have already seen some platforms are releasing this type of project.
32:18And we actually, last year in February, we did a teaser project where we created 10 teasers in two and
32:25a half days from me.
32:26And then we explored a lot of genres.
32:28We explored it like a thriller and then supernatural stories.
32:37So, these were really fun.
32:38And we tried that.
32:39And recently, I've seen Real Short and other platforms started releasing and tapping into this territory as well.
32:47What kind of short drama male audience from the U.S. watch?
32:51Racing would be like something a guy would watch.
32:53I feel like eventually, if they wanted to, like, do more action instead of romance, more action, some romance, I
33:01feel like guys will watch that.
33:02I definitely feel like sci-fi, guys will definitely watch that.
33:05Thrillers, horror, guys will definitely, there'll be more, it'll be more, maybe male-dominated.
33:10But I see it go both ways.
33:11So, I think if they want to move more into the gender neutral, horror, sci-fi, thriller is definitely a
33:17good way to go.
33:18Or mystery, even.
33:20Heck, expand to all genres.
33:22You know, I feel like that's probably what's going to happen.
33:25And as you've seen, I mean, historical vertical has come out.
33:29Like, I know Real Short made Pride and Prejudice.
33:31We've made one, a gangster 1920s show before.
33:37We've done that in our teaser.
33:38We've done one that's, like, 1800, like, 18th century Mary Internet to 1700 drama.
33:45Like, traveling back in time.
33:47Or from back to the future.
33:48Does that make sense?
33:49I mean, we've explored that.
33:50So, I feel like it's a fun thing to play with, different genres you can create, for sure.
33:55I personally think it will take some market research to tap into the male, to crack the male audience in
34:04the United States.
34:05Because I know two years ago, they've already reached to this demographic in China.
34:11And they seem, and I was given some shows to study.
34:16And they all seem very gangster, male gaze-looking stories.
34:23But I think in society, females just have, like, a higher purchasing urge or power.
34:30And also, I feel like females are more, spend more time on their phone.
34:36And, I mean, like, all the guys are all on TikTok stuff, though.
34:39But in the United States, at least a lot of my friends on Sundays, they're either hanging out with their
34:44bros watching football.
34:46Or they're going out Saturday night to the bars or pubs.
34:51So, to crack into that, you really have to research what gets them hooked.
34:59So, personally, I think maybe some sports redid it.
35:03Or more, like, deep-ish story.
35:07And, like, a lot of guys like movies like The Godfather.
35:11So, I feel like some research needs to be done to crack that market open.
35:18How do you see the future of short dramas?
35:21I feel like it's definitely growing, at least for a few years.
35:25And it's kind of like everyone's been saying that.
35:27I've been, like, watching interviews from the LA folks.
35:31And then now, this industry is getting more exposures.
35:38Like Rolling Stone or LA Time or Variety.
35:42So, I think that kind of legitimatized the industry.
35:48So, more traditional filmmakers or, you know, sad uni actors are, like, kind of like, oh, that's not so snappy
35:58anymore.
35:59They're not afraid to tap into this territory.
36:02So, that helps to grow this in the United States.
36:06And, personally, I think our society has changed a lot, you know, ever since TikTok, the Reels.
36:14The attention span is shorter.
36:17It's impossible to go back, you know, something happens.
36:21It's really difficult to reverse the change.
36:25So, I feel like that's just the direction of our society.
36:29And then, I think this comes out as a new form of media.
36:33And just over the two years, over the two to three years in the past, which is an extremely short
36:38amount of time,
36:40we have already seen verticals have evolved a lot itself in the United States.
36:46So, I think it will just grow from here for at least a few years.
36:52I see the quality being a little bit higher.
36:54I see more investors are willing to invest if the numbers are good, and so maybe bigger budget.
36:59Not quite as big as, obviously, feature films, which makes your risk, investors' risk, lower,
37:05which means they may want to invest in more shows.
37:07Because, you know, obviously, imagine, I don't know, a few million dollars on one project versus, like, 30, 40, you
37:15know what I mean, projects within that same budget range.
37:18If I was an investor, I'd invest in verticals more because the chances of return is way higher.
37:22But at the same time, I hope that better shows will be made, maybe slightly more time allowed for filming
37:31is allowed,
37:32so we can film something that's really beautiful, just like, same as a feature, and higher budget and better pay
37:38for everyone.
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