Huayu: Hard fight against Zhang Weiping at the beginning

Chapter 700 ShowBox Competition
Star Entertainment Top Floor Conference Room

The cigar between Zhang Chen's fingers had burned to the end, and ash fell softly onto the gleaming mahogany table, but he was completely unaware of it.

The filming plan for the "Ghost Blows Out the Light" trilogy, spread out in front of me, is covered with dense red annotations on every page. The most eye-catching line runs across the page: "Limited to three parts, stop when things are going well."

“It’s not that I don’t want to film more, it’s that I don’t dare.” He murmured to himself, as if he had returned to the time when the project for “Ghost Blows Out the Light” was first proposed a year ago.

At the time, the copyright of the novel "Ghost Blows Out the Light" had just been acquired. The feasibility report submitted by the marketing department showed that the potential audience of this IP covered three generations from the post-80s to the post-00s, and the development of derivative products alone could support the company's revenue for the next five years.

However, Zhang Chen poured cold water on the idea at the meeting: "Tomb raiding is like dancing on the edge of a knife. What we need to do is not to be greedy dancers, but to be chess players who keep the rhythm right."

He was all too aware of the tragedy of the original timeline. In those years, tomb raiding films suddenly appeared on the screen, from "Mojin: The Lost Legend" to "Chronicles of the Ghostly Tribe," and then to countless copycat online movies. For a time, "tomb raiders" and "grave raiders" became popular terms.

But behind the excitement lies a deadly hidden danger—when a low-budget tomb raiding film used "getting rich by raiding tombs" as its selling point, the wind instantly changed.

Not long after, a notice was issued to "strictly manage the themes of treasure appraisal and tomb raiding," and the entire genre disappeared from the big screen, leaving only web series that could cautiously test the edge of censorship.

"What constitutes strict management?" Zhang Chen posed this question at a management meeting, silencing everyone present.

Ultimately, he gave the answer himself: "Here, there is no middle ground. It's either let them through or cut them off in the strictest way possible."

Therefore, Star Entertainment drew a red line for itself from the very beginning: never promote tomb raiding itself, and completely reshape the core of the story as "adventure and survival".

In the script, Hu Bayi and Wang Pangzi's identities changed from tomb raiders to retired soldiers, the main mission changed from finding ancient tomb treasures to breaking the family's hereditary curse of the ghost eye, and even the "tomb raiding talisman" was reinterpreted as "ancient explorers' talisman".

But he knew in his heart that this "disguise" could only fool the censors, not the market's bandwagon effect.

In recent years, Star Entertainment has become a trendsetter in the film and television industry. After "The Wandering Earth" opened the door to domestic science fiction in 2018, more than a dozen science fiction films were launched the following year. In 2020, "Hi, Mom" ​​popularized heartwarming comedies, and within half a year, hundreds of scripts of similar themes were received.

"Once 'Ghost Blows Out the Light' becomes a box office hit, a bunch of copycats will definitely follow."

Zhang Chen rubbed his temples, his tone full of helplessness, "I'm not afraid of shoddy productions, at worst the audience will criticize it as a bad movie. What I'm afraid of is that this kind of subject matter will really become mainstream."

What does "mainstream" mean?
This means that the identity of "tomb raider" may be whitewashed, that teenagers will idolize "tomb raiders", and that sooner or later someone will scrutinize them with a magnifying glass and label them as "promoting feudal superstition" and "glorifying illegal behavior".

"This type can exist, but it can't be the protagonist." Zhang Chen wrote this sentence in his notebook, the pen tip almost piercing the page.

“If the opposition becomes so strong that it reaches the highest levels of government, they will definitely issue an order to block the way. At that point, let alone three parts, we won’t even be able to make a sequel to one.”

He recalled the Sino-US film and television exchange forum he attended last month, where the US representative enthusiastically talked about the reboot plan for "The Mummy" series, saying that the film, which combined Egyptian mythology and adventure elements, raked in $14 billion at the global box office.

But looking at the domestic scene, even the word "tomb raiding" in the promotional materials for "Ghost Blows Out the Light" has to be replaced with a homophone.

"Making movies in the country is really too difficult."

Zhang Chen smiled wryly, "The Mummy can openly talk about treasure hunting, but we have to change tomb raiding into 'archaeological exploration'; their protagonist can hold the Book of the Dead and chant spells, but our protagonist has to think about 'protecting cultural relics' all the time."

It was this predicament that gave him the idea of ​​"using three parts to open up the international market".

If "Ghost Blows Out the Light" can gain a foothold in overseas markets and become an international IP like "The Mummy," perhaps when policies tighten, the authorities will hesitate a little longer due to considerations of "cultural export."

This idea took root and sprouted in his heart like a seed, but what followed was a more practical problem—"Ghost Blows Out the Light" was too "Chinese".

Zhang Chen's previous works, such as "Pacific Rim" and "Taken", are all pan-cultural themes with a Hollywood style. The protagonist's values ​​and behavioral logic are in line with the cognition of international audiences. Even if the protagonist has an Eastern face, Westerners can easily identify with him.

But "Ghost Blows Out the Light" is different. The concepts of "finding the burial site" and "finding the dragon vein" in the novel can take ten minutes just to explain the "twenty-four directions". The settings of "zongzi", "black donkey hoof" and "Muchen Pearl" are like heavenly books to the audience who do not understand Eastern culture.

“But it might also be an opportunity.” The director in charge of international distribution raised a different view at the meeting. “Westerners’ impression of China is that of a ‘mysterious Eastern power,’ and ‘Ghost Blows Out the Light’ just happens to hit this point of curiosity.”

Just as we might find the Elven culture in "The Lord of the Rings" fascinating, they might also be drawn to Chinese feng shui and metaphysics.

These words made Zhang Chen waver somewhat. He thought of the success of "Crouching Tiger, Hidden Dragon" at the Oscars and how the Korean cultural elements in "Parasite" fascinated Western audiences. Perhaps cultural differences themselves are the best stepping stone.

Of course, this "take a gamble" mentality only applies to the European and American markets. In the Southeast Asian market, Zhang Chen is fully confident.

He had the marketing department conduct a detailed survey, which showed that audiences in countries within the influence of Chinese culture had a very high acceptance of Eastern fantasy elements.

The Mummy trilogy attracted 300 million viewers in South Korea, grossed over 50 billion yen in Japan, and sparked an Egypt craze in Southeast Asia.

“Since they can accept the curse of the Egyptian pharaohs, there’s no reason they can’t accept the curse of ancient Chinese tombs.” Zhang Chen gestured to a map of the Southeast Asian market. “This is our base.”

Just as he was lost in thought, his secretary gently knocked on the door: "Mr. Zhang, Mr. Zheng Changsheng, the director of CJ Entertainment, has arrived and is waiting for you in the meeting room."

Zhang Chen nodded, closed the proposal for "Ghost Blows Out the Light," and stood up to straighten his suit.

CJ Entertainment is an important partner of Star Entertainment in South Korea. They were among the South Korean investors in the first installment of "Ghost Blows Out the Light". More importantly, by co-producing a film, they can bypass South Korea's film quota system. South Korea stipulates that domestic films must be screened for no less than 146 days a year, making it extremely difficult for foreign films to enter mainstream theaters. However, co-productions can enjoy the same treatment as domestic films.

In the reception room, a pot of Longjing tea was placed in front of Zheng Changsheng.

This bigwig in the South Korean film industry was dressed in a well-fitting custom-made suit, with his signature gentle smile on his face, but there was a hint of imperceptible urgency hidden in his eyes.

"Chairman Zhang, it's been a long time."

As soon as Zhang Chen appeared, he stood up and shook hands with Zhang Chen in a warm tone.

After exchanging pleasantries, the two sat facing each other.

Zheng Changsheng picked up his teacup, took a sip, and asked casually, "I heard that Ms. Anjudy from ShowBox came here recently?"

Zhang Chen had a premonition; it was indeed about this matter.

Anjudy is the head of ShowBox's international business department. Since taking office three years ago, she has become known in the industry for her aggressive cooperation strategies. She first co-produced the romantic comedy "Eternal Holiday in Bali" in Indonesia, and then turned to China to seek cooperation, aiming directly at Star Entertainment, a highly sought-after company. "She did come, but she didn't talk to me. Zhong Lifang received her," Zhang Chen answered truthfully, his face showing no emotion.

Zhong Lifang is the company's CEO, responsible for daily operations.

“Anjudy came here this time because she really wanted the second part of ‘Ghost Blows Out the Light’. The conditions she offered were quite tempting – she was not only willing to cover 50% of the production costs, but also promised to use all of ShowBox’s distribution channels in South Korea, including major theater chains such as Lotte and CGV.”

Zhang Chen didn't hide anything and told the truth. Zheng Changsheng's smile froze for a moment. He put down his teacup and leaned forward slightly: "Chairman Zhang, our cooperation between CJ and Star has always been very pleasant."

He began to list the results of their collaboration: when Pacific Rim 2 was released in South Korea, CJ used 200 screens and ultimately attracted 280 million viewers; the promotional resources for Gravity were also excellent, setting a record of 180 million viewers in South Korea.

“What ShowBox can provide, CJ can provide as well, and even more.”

Zhang Chen knew, of course, the source of Xi Jie's confidence.

As one of the three major film companies in South Korea, CJ has a deep-rooted advantage in the domestic market. Its subsidiary, CJ CGV, is the largest cinema operator in South Korea, occupying 40% of the country's screen resources.

However, ShowBox's rise in recent years cannot be ignored. This once small company has made accurate investments in blockbuster movies such as "The Attorney" and "Taegukgi," and its market value has tripled in three years. Now it has the strength to rival CJ.

In particular, the blockbuster co-production between China, Japan and South Korea, "Red Cliff," allowed ShowBox to make its mark on the international market and gave them leverage to negotiate with Star Entertainment.

The phrase "A product from Xingchen is guaranteed to be of the highest quality" is not only a golden brand in China, but it also works well in South Korea.

Star Entertainment's films have never disappointed in the South Korean market, with the lowest attendance exceeding 150 million.

Laymen may think this number is nothing, but those in the know understand how brutal the Pareto principle is in the South Korean film market—of the hundreds of films released each year, less than 20% can make a profit. The top film can attract tens of millions of viewers, while the second-place film may drop to 500 million, and 200 million viewers can rank in the top 20 of the annual box office.

Zheng Changsheng knew in his heart that the situation had changed.

Previously, CJ could rely on its resources in the Korean market as leverage, but as Star Entertainment has grown stronger and Zhang Chen's name has become more and more well-known in the international film industry, the value of this leverage has been decreasing.

What do South Korean filmmakers desire most?
It's about getting local films to go global, especially to break into Hollywood, the holy land of cinema.

Zhang Chen happens to have this ability—his "Pacific Rim 2" not only premiered in North America but also received multiple Oscar nominations. Collaborating with Zhang Chen is like getting a stepping stone into Hollywood, which is what CJ truly values.

Seeing Zhang Chen's unhurried demeanor, Zheng Changsheng grew anxious, his mind racing as he considered countermeasures.

Perhaps we could invite Zhang Chen to South Korea again, arrange for him to attend a forum at the Busan International Film Festival, and also invite a few popular girl groups to accompany him to the event—many Chinese directors have fallen for this tactic in the past.

But then he thought again that Zhang Chen was not the kind of person who was easily tempted, and such a little trick would probably only backfire.

Zhang Chen: Why don't you give it a try?
Just as Zheng Changsheng was struggling with his decision, Zhang Chen spoke up: "President Zheng, rest assured, we have not agreed to ShowBox's terms."

He paused, picked up the "Ghost Blows Out the Light" brochure on the table: "Everything depends on the release of the first film. Whether it's domestic box office or overseas performance, we have to let the data speak for itself."

These words were like a reassuring pill, allowing Zheng Changsheng to breathe a sigh of relief.

Zhang Chen changed the subject and brought up another project: "By the way, we have a new idea regarding the co-production of the zombie drama 'The Fall of the Kingdom'."

Zhang Chen originally wanted Ning Hao to direct "The Fall of the Kingdom", but since Ning Hao had reservations, he decided against it.

"After some consideration, I realized that it's not appropriate for a Chinese director to direct 'The Fall of the Nation,' so I thought it might be better to try finding one from South Korea."

Zhang Chen explained, "South Korea has a very mature approach to zombie films; 'Train to Busan' is a prime example. Hiring an experienced South Korean director should yield good results."

Zheng Changsheng's eyes lit up; this suggestion was exactly what he wanted to hear.

"The Fall of the Kingdom" tells the story of the ancient Joseon Dynasty encountering a zombie virus. Although it is a drastically altered history, if it is directed by a South Korean director, the traces of "foreign company dominance" can be weakened.

Star Entertainment clearly took this into consideration as well—Zhang Chen added: "We will try to minimize Star Entertainment's presence in this project, since it is an adaptation of someone else's history, and there will definitely be controversy."

It's one thing if it's just your own people making drastic changes, but if they knew it was a Chinese company behind it, there would probably be another wave of public outcry.

Zheng Changsheng nodded repeatedly; he was all too aware of the sensitivities of South Korean netizens.

If "The Fall of the Nation" is labeled as "a Chinese company distorting Korean history," the consequences would be unimaginable.

"Chairman Zhang has considered everything so thoroughly," he exclaimed sincerely. "We at CJ are willing to fully cooperate. We will recommend the director, and we guarantee that he will be one of the best in the industry."

After the meeting, Zheng Changsheng left Xingchen Entertainment with satisfaction.

Zhang Chen stood in front of the floor-to-ceiling window, watching his car disappear into the traffic, a complex smile on his face.

The international chess game of "Ghost Blows Out the Light" has only just begun. The competition between CJ and ShowBox is just the first step. Next, they will have to deal with the pressure of censorship, market changes, and audience expectations.

He picked up the "Ghost Blows Out the Light" project proposal on the table and added a line next to "limited to three parts": "Proceed step by step, seek progress while maintaining stability."

As night fell, the lights of the CBD gradually came on. Zhang Chen's office lights also stayed on late into the night, and on the computer screen on his desk was the overseas distribution plan for the first volume of "Ghost Blows Out the Light."

From South Korea to Japan, from Southeast Asia to Europe and America, each market is marked with detailed strategies and expectations.

He knew that this was not just a journey for a film, but a high-stakes gamble for Star Entertainment in the film and television industry.

For pure Chinese culture to go global, every attempt is a gamble.

Now it's "Ghost Blows Out the Light," and in the future there will be "The Wandering Earth," "Wolf Warrior," and so on...

(End of this chapter)