Recently, the studio of Chinese actress Trieu Lo Tu attracted attention when launching a campaign to select original scripts, without limiting content and identity, and experience of participants. Priority content includes topics about women, healing, maturity and warm reality.
Trieu Lo Tu's side offered two forms of cooperation: buying copyright for a one-time fee or long-term creative cooperation, while committing to protecting the right to permanently write the author's name, as well as sharing long-term benefits from broadcast revenue and IP derivative products.
Trieu Lo Tu has a new direction in the context that her return to the screen is facing difficulties and deadlock.
In a recent livestream, Trieu Lo Tu frankly shared that her plan to join the film crew in August had to be postponed because she had not received the complete script. She emphasized that she really wanted to film, but the prerequisite is that the script must be completed and the crew must be ready.
Not long after, Trieu Lo Tu's studio officially announced the selection of the original script.
This move not only makes the screenwriters in the Chinese entertainment industry pay attention, but also sets a precedent when an idol star publicly selects scripts themselves.
Screenwriter Kim Quoc Dong - who once wrote the works "Sam Sam Comes", "15 Years Waiting for Migratory Birds" - sent a complete project. From a cooperation invitation initiated by an idol actor, the matter quickly became a topic discussed by the entire entertainment industry.
According to media reports, looking at the current Chinese TV drama market, in the summer movie season, many original screenplays are attracting attention.
Tuoc Cot" starring Ngai Me and Hau Minh Hao received positive feedback thanks to the original script. At the same time, the movie "Nhat niem Giang Nam" by Vuong An Vu and Trieu Kim Mach also officially started filming, written by Truong Nguy - screenwriter of "Mong hoa lac" and "Nhat niem quan son".
In the list of movies awaiting broadcast, many projects such as Luu Thi Thi's "Suy Mong", Tran Tinh Huc and Ly Nhat Dong's "Kim Chi" are all labeled "original scripts".
According to many screenwriters who sent works, Trieu Lo Tu's selection of the original script is an effort to break the barriers that exist in the film industry, and they also appreciate the boldness and innovation of the actress.
Producer Van Sam commented: "It can be understood that Trieu Lo Tu's current goal is no longer to compete for famous IPs, but to take advantage of her own appeal to combine with a good script, and then start the project from scratch.
According to him, previously S+-level projects of the broadcasting platform always followed the "A-list actor + hit novel script" model, meaning they had to spend a very large amount of royalties.
Meanwhile, if the original script is chosen, the platform will save IP purchase costs, can focus budget on actors' remuneration and production quality, both reduce costs and limit risks due to IP prices being pushed too high.
However, Trieu Lo Tu's move also led to many controversies about project ownership and copyright protection.
Nhac Viet producers questioned the author protection mechanism, worried that if the selection and screening of scripts is undertaken by the artist studio, will the core idea be borrowed or mixed from many different manuscripts?
Producer Daisy believes that a healthy film industry needs a clear division of labor: screenwriter builds the story, actors portray the character. If actors intervene too deeply in the script structure, the creative logic of the entire project may be distorted.
