KEO.PLUS

With the overall film market on the rise, Kar is naturally unwilling to give up her career.

Moreover, including the income from secretly screing films in the city, Kar's annual income is almost double the average income. How could she be willing to give up such a high-paying job, ev if it's a bit more struous?

Having just finished a screing and ready to take a good break, Kar suddly received a notice from the Royal Film Studio, asking all projectionists to gather there as soon as possible for an important announcemt.

This news made Kar frown, as besides new films for them to collect or wh settling rtal fees, they would only be called to the Royal Film Studio.

Yes, these projectionists mostly rt their equipmt from the Royal Film Studio. They have to pay half of their income from each film screing to the studio as rtal fees.

However, the good news is that after twty years of handing over 50% of their profits, the film projection equipmt truly belongs to the film projectionists. They only need to pay the studio for the film rtal and no longer pay for equipmt rtal.

As for Kar's dream, it is to earn ough money and th op her own cinema in big cities like Sydney.

She heard that cinemas in Sydney make ts of dollars for each screing, with hundreds of dollars coming in daily, making Kar and many projectionists vy.

Carrying some anxious thoughts, Kar came to the Royal Film Studio early in the morning, waiting with a slightly apprehsive heart for the office area's doors to op.

"Kar, you're so early?"

After waiting for a while, Kar's frid and colleague Trick walked over and greeted her warmly.

"Yes, Trick. I want to know sooner what the film studio wants from us and hope it isn't bad news." Kar replied to her frid with a bitter smile.

"Hopefully, Kar. But considering the currt developmt of the film industry, I think it shouldn't be bad news. If it were bad news, the film studio could just inform us directly. Why gather us here?" Trick comforted, seeing her frid was a bit down.

"Maybe you're right, Trick." Hearing her frid say this, Kar's mood got a little better as they waited together for the arrival of others.

After waiting again for a while, most of the projectionists from a Sydney had arrived and began gathering in small groups.

Finally, at eight o'clock, the office area's doors oped, and Frank, the head of the Royal Film Production Studio, walked out with a smile. Addressing everyone, he cut straight to the chase:

"Gtlem, I have good news for you all. The Royal Film Studio will continue to expand its market and plans to build more cinemas in big cities like Sydney and Melbourne. Of course, cities with a population of over 0,000 will also have a chance to build cinemas, and you may become the person in charge of these cinemas."

Frank's words acted like a soothing remedy, instantly calming the anxious projectionists who looked at him expectantly.

"I know you are all curious why we suddly want to build so many cinemas. I can reveal some news to you. Some time ago, sound films were born, and His Majesty decided to vigorously develop sound films and the film industry, and has invested a lot of money in us." Frank explained with a smile.

Frank didn't mtion that the other two major film studios had also received the same funds.

After all, this occasion was to cheer up and motivate their own employees, so they needed to highlight the importance of the Royal Film Studio.

Hearing that King Arthur was very optimistic about sound films and wanted to vigorously develop the film industry, all the projectionists in the room couldn't help but excitedly exclaim.

With His Majesty the King committed to developing the film industry, how could they worry about losing their jobs?

No! A movie projectionist with some ambitions like Kar is already looking forward to the position of the manager in the city's cinemas.

Although these newly built cinemas belong to the Royal Film Studio, they can not only gain early exposure as managers of cinemas, foster their own abilities but also earn higher incomes and lay a solid foundation for their future indepdt cinemas.

"We are currtly developing sound film technology vigorously, and I believe that within at most six months, we should be able to start shooting sound films. That is to say, it's only a little over a year from the screing of sound films. This period is also an opportunity for all of you. During this time, we will build at least t cinemas and hire more than 0 film projectionists.

Their only responsibility will be to show a large number of our free movies to the public, and strive to let the vast majority of Australasians see them."

"Factory Director Frank, are you talking about free movies?" someone asked.

You should know that they all make money by charging for movies. If they suddly changed the movies to free ones, where would their income come from?

"Yes, the main focus of the Royal Film Studio in the future will be shooting public interest movies about our nation and country. Naturally, these public interest movies should be played for free to all Australasians.

But don't worry, these public-interest movies are supported by His Majesty the King, and both cinemas and projectionists will earn their deserved income for every public-interest movie screing." Frank nodded and explained.

The cost of showing one movie nowadays is not small, easily amounting to several dozs of Australian dollars.

Therefore, it also gives rise to a problem, which is that ev if the film studios make movies about national unity, the number of people watching will not be too many.

After all, watching a movie is not a small burd for the common people, and ev if Arthur can use his influce to get most villages to scre a movie, it would definitely be a loss.

As such, Arthur decided to show these national and ethnic movies in the form of public interest after much consideration.

As for the cost and expses of the screings, these will be borne by the governmt and the royal financial group. According to the agreemt betwe Arthur and Prime Minister Walter, the governmt will reimburse 40% of the movie costs, and the remaining 60% will be borne by the royal financial group.

In Australasia, the total number of screings in small and large cities combined would not exceed t thousand a year.

Is the cost of ,000 movie screings expsive? Based on the cost of thirty Australian dollars per screing, ,000 screings would only amount to 300,000 Australian dollars, and the cost is not high.

Ev if there are more screings, both the governmt and the royal family's finances can handle it.

Changing the way movies are screed to free public interest movies can also attract more people to watch these specially shot movies and make them more effective.

Not to mtion, the mere name of a free movie would be ough to attract most villages and individuals to watch.

After all, it's a free movie, and ev just to take advantage of the cheap offer, many small towns and villages would invite film projectionists to scre a movie.

Of course, the cost of a movie naturally includes not only the screings but also the shooting, scriptwriting, etc.

However, these are not significant expses, especially for the relatively rudimtary movie industry at prest, the cost of making a movie is indeed not high.

Furthermore, by leveraging public interest movies first, the Three Major Film Studios can expand their movie market.

The larger the market, the higher the profit for the film studios, which is of great help for indepdt developmt and profitability for the Three Major Film Studios.

After hearing Frank's explanation, many film projectionists finally breathed a sigh of relief.

After all, everyone needs to support their families. If their income is lost due to public interest movies, they really need to find a place to cry.