The only sun in Huayu

Ma Youde said, "Boss, some viewers have rewatched 'The Eunuch,' and the reviews are getting better. Many viewers think it has a high artistic value."

Shen Shandeng immediately realized someone was planning something: "What do you mean?"

Ma Youde said, "Some viewers believe that 'The Eunuch' has strong artistic value, but it requires a certain level of understanding to interpret it."

Great joy is great sorrow, and great happiness is great grief.

The movie is a fast-paced and purely exciting story, but if viewed historically, Jiajing's reforms failed.

Therefore, the more exhilarating it is, the more sorrowful it becomes.

The more turbulent the situation, the deeper the sorrow.

Ma Youde continued, "The more vibrant and energetic the early Jiajing period, and the people and events of the Jiajing era, the heavier this sorrow became."

Shen Shandeng was taken aback. If it was said that he had arranged it on purpose, then it was indeed true.

For the sake of pacing and commercial presentation, the story was deliberately selected from the early to mid-Jiajing period.

But this approach is not for any artistic presentation.

Will there be a "school inspector" in the future?

Shen Shandeng thought for a moment and quickly discovered the problem.

Such an interpretation is too sophisticated and would disrupt the film's narrative.

"We can't interfere with the audience's interpretation, but we can't participate in it ourselves. In addition, we should guide mainstream interpretations and make sure that history is history and film is a literary creation, and avoid creating a spoiler effect from a God's-eye view."

Ma Youde's heart skipped a beat, and he quickly took out his notebook to write it down.

He only saw the good side; he didn't see that the hat was difficult to wear and shouldn't be worn.

The success of "Jiajing" deserves a celebration.

Shen Shandeng generously offered extra bonuses.

Of course, the revenue comes from the "Jiajing" project, using the cooperative project to support their own company.

It's not that Shen Shandeng's behavior was unseemly; it's because he made the major contributions.

Moreover, they didn't keep proper accounts, causing the project to incur losses.

It was just a normal reward; he'd been following the rules quite well!
When the bonuses were distributed, the entire company was filled with a sense of pride and joy, as if they had won a battle.

Upon seeing this, Shen Shandeng immediately summoned Wu Jing, Zhou Qifeng, another director trained by the company, and the producer.

Wu Jing and Zhou Qifeng were both beaming with joy.

In their initial roles, one became a director with a project valued at over 100 million yuan, and the other became a producer of a project with a value of over 100 million yuan.

And it's not just 100 million, it's 200 million.

Wu Jing, in particular, feels like he's living in a dream, having gone from losing everything to following Shen Shandeng to experiencing something incredible today.

In the office, Wu Jing, Zhou Qifeng, and others were sitting.

Shen Shandeng stood by the window, looking down at the still bustling city below, his back straight and tall.

"The celebration is over, time to wake up."

Shen Shandeng turned around and said calmly, "Jiajing is a past achievement. If You Are the One won the championship, which shows that there will always be competitors in the market."

He pointed, and Ma Youdela opened the whiteboard, where three large characters were written: "Jinyiwei" (Imperial Guards).

“Brother Jing, you just finished a tough battle, but you didn’t have time to rest.”

"For the '14 Blades' project, you took on multiple roles: director, action choreographer, lead actor. You need to quickly grasp the film's concept and action design. I want both elegant martial arts and sharp, realistic internal energy."

Having established a certain foundation, Shen Shandeng had no intention of playing any more tricks with plot design.

Of course, the story must be good.

However, this is only the most basic.

Movies are not novels. The reason why movies can attract audiences to the cinema is because of their visual effects!

Shen Shandeng is going to push straight through!

His philosophy is that for special effects movies, as long as the story flows smoothly, all else is to add special effects.

The visual effects must be realistic, the spectacles must be plentiful, and the audience must be shocked!

Anything else high-end or fancy was not within Shen Shandeng's consideration.

At least in China today, and for the next decade or so, visual effects blockbusters are, if not few, certainly scarce.

He used to tell stories and talk about rhythm, but sorry, he just didn't have the money!

From now on, those will all be wonders!

As long as the script is well-structured and not idiotic, the plot is fine!
Shen Shandeng looked at Zhou Qifeng and said, "Qifeng, you are in charge of coordinating the early preparations, script polishing, concept design, and casting ideas. I need to see the plan as soon as possible."

His gaze swept over Wu Jing and Zhou Qifeng, causing them to instinctively straighten up.

"We cannot stop for even a moment."

Shen Shandeng then looked at the other two, who had both taken courses in directing and producing: "You two, study hard. As long as you have the skills, I'll give you a role anytime."

All four of them were excited!

Shen Shandeng's vision is not just empty promises, but a blueprint that will be realized step by step!
One blueprint to the end!

The old glories have been left behind, and a new journey is slowly unfolding under Shen Shandeng's guidance.

After leaving the office, Wu Jing called Xie Nan: "I have to go on a business trip. It's for a new movie. I'm both the director and the lead actor in this movie."

Over there, Xie Nan felt sorry for Wu Jing when she heard that he was also filming during the Chinese New Year: "Director Shen should at least wait until the Chinese New Year."

Wu Jing said seriously, "Director Shen spent the past two years on set. We're in a period of catching up, so we have to work hard."

A scholar dies for a confidant.

Wu Jing takes the "14 Blades" project very seriously. He met Shen Shandeng on the set of "The Eunuch," where he also held multiple positions.

However, since they are all secondary, I have some doubts.

The actor playing the role of the Embroidered Uniform Guard also holds multiple positions, and Shen Shandeng's promises from back then are being fulfilled one by one.

Wu Jing must also keep his promise.

Meanwhile, Zhou Qifeng was also communicating with his family.

Working with a boss who is always looking ahead and never satisfied is tiring, but it's also incredibly rewarding!

Shen Shandeng sat in his office, feeling quite pleased with himself, thinking that he could finally have a good New Year.

It must be rolled up.

But from then on, they were all handed over to the people below.

As a boss, you can't do everything yourself, because that will hinder other people's progress!

This is something Shen Shandeng would never do!
Leave the opportunity for others!

Shen Shandeng called Ma Youde over and asked, "Youde, how was the animation I showed you?"

Ma Youde immediately said, "This animation is a hit. I had someone contact them. The director and editor are the same person, named Yang Yu. It turns out that the director completed it all by himself at home."

"Boss, shouldn't you give him a chance?"

Shen Shandeng nodded, quite satisfied. Regardless, Lao Ma still took his words to heart.

“Hmm, show it to Marco Müller. There are short films in Venice, and I think the theme is very good—anti-war.”

Shen Shandeng is no longer as averse to European film festivals as before; he has now established a system around them.

Establish before dismantling.

It's already established, so there's no need to worry about it breaking down.

Moreover, Shen Shandeng also wanted to test Marco Müller's loyalty. The anti-war sentiment in "Hit a Big Watermelon" was different from that of some other people.

Yes, just as there are different kinds of art, there are also different kinds of anti-war sentiment.

As for the dumplings right now, what Shen Shandeng really wants is not dumplings, but "Monkey King: Hero Is Back".

However, we must take it one step at a time; this is just the next move.

Shen Shandeng is so good.

Giving others a chance leaves a pleasant feeling, warming their heart.

I was planning to give her a little reward. "Sister Qing, there's a project, it's all work."

Shen Shandeng remembered making a mistake in front of a poster when he was in high school, so he called He Qing.

I have no other intentions, I just want to sincerely apologize for my mistake!

1 month 9 day.

Friday.

With "Jiajing" grossing over 200 million yuan, achieving both box office and critical success, and the initial formation of the Dugong cinematic universe, the film is poised to take shape.

Han Sanping, chairman of China Film Group Corporation, gave an exclusive interview to Outlook Weekly.

China Film Group Building.

Outside the window, the chill of a deep winter in Beijing was palpable, but inside, it felt warm and cozy.

The reporter got straight to the point, congratulating Mr. Han: "Congratulations to Chairman Han! 'Jiajing' has achieved both market success and critical acclaim. It seems that this crucial step in the Eunuch series of films has been taken steadily and solidly."

Han Sanping didn't hide anything and laughed generously, "Yes, it can be said to be a great success. To be honest, of the projects 'Jiajing,' 'The Embroidered Uniform Guard,' and 'The Eunuch 2,' the one I was most worried about in the early stages was 'Jiajing.'"

"It has a lot of dramatic scenes, a historical theme, and it's Wu Jing's first time directing a feature film independently. But Shen Shandeng was very confident, and the result was pleasing."

The reporter then steered the conversation toward Shen Shandeng.

Everyone knows that Han Sanping's ability to cultivate talent is not only average, but also not very good.

In his early years, he recommended Feng Xiaogang, who then joined Huayi. His major strategic moves during his time as vice chairman were met with mixed reviews.

After being officially appointed, the situation opened up completely.

But everyone knows why they have repeatedly created miracles.

The reporter asked, "Director Shen Shandeng's works, from 'The Eunuch' to 'Lost in Thailand,' have repeatedly created 'miracles' for low-budget domestic films. This time, he has brought out another director with a box office of over 100 million yuan. What are your thoughts on this?"

Han Sanping nodded, feeling very gratified.

I never imagined he had already done so much.

While the strategic upgrade of the blockbuster films may not be considered a complete success, it has certainly been a series of victories.

"Lost in Thailand" and other low-budget comedies have paved a new path for the genre.

It also saw the emergence of a number of outstanding directors and producers, such as Shen Shandeng, Wu Jing, and Zhou Qifeng.

Han Sanping paused for a moment, then said truthfully, "To be honest, the growth rate of the new generation of directors has exceeded my expectations."

"But upon closer reflection, it's not surprising. Our film system reform has unleashed new momentum, and our history and culture are extremely rich. All we need is a key to unlock this treasure trove, a key that can connect with the aesthetics of young audiences."

"With the release of policy and market dividends, the film market has become fully vibrant. Shen Shandeng has found the key and is willing to hand it over to the right partners."

Han Sanping recounted the exploration path of Chinese blockbusters.

"We must admit that Chinese blockbusters have taken many detours."

“In the past, whether it was ‘Hero’, ‘The Promise’, or ‘The Banquet’, they were all criticized by the audience for emphasizing form over content. In recent years, directors such as Feng Xiaogang, Chen Kaige, and Zhang Yimou have been making gradual adjustments.”

"On the one hand, we use advanced technology to bring a strong sensory impact to the audience, and on the other hand, we try to move the audience psychologically with compelling characters and stories."

"But it always feels like something's missing, like scratching an itch through a boot."

The reporter pressed further: "Is it a matter of 'Chinese exterior, Western core'? The form is Eastern, but the core narrative and values ​​still lean towards the Western evaluation system?"

Han Sanping's answer was very rigorous.

He is not like Shen Shandeng; he is very steady and cannot make rash statements.

However, we can't hold back too much, since this is his path after all.

If you don't even dare to wave the flag, you can forget about making any progress, so the point remains clear.

"At one time, the old model may have opened a window for us at a certain historical stage, allowing us to see the world and letting the world catch a glimpse of the East."

"But a window cannot always replace a foundation. Compared to the tragic endings and somewhat detached philosophical expressions of previous domestic blockbusters such as 'Hero' and 'The Promise,' the core purpose of the works of Shen Shandeng and his group of young filmmakers is to serve local audiences."

"They are pure narratives rooted in the fabric of Chinese history, shining with the spirit of Chinese heroes, and resonating with the Chinese people's belief in their nation."

The reporter concluded, "So it's 'Chinese core + Chinese visual effects'?"

"That's understandable."

Han Sanping nodded, "And judging from market feedback, the audience is buying it."

“Currently, criticism of domestic blockbusters is indeed gradually decreasing, and satisfaction is increasing. This shows that our blockbuster strategy, with the Du Gong series, has achieved an initial upgrade.”

The interview moved into its second part.

The reporter asked, "Mr. Han, seeing the current situation where several domestic films are competing on the same stage during the Lunar New Year season, with box office success across the board, did you ever imagine that Chinese films would be where they are today?"

This question stirred up Han Sanping's memories.

Memories of bygone days are plentiful.

This year's Lunar New Year film season was indeed unexpected, with three films—"If You Are the One," "Jiajing," and "Mei Lanfang"—grossing over 100 million yuan.

Two films with a combined budget of 200 million and one with a budget of 100 million, and the film "If You Are the One" may break 300 million after its run ends.

This was unimaginable in the past.

No one expected that three movies would gross over 100 million yuan in a single release window.

This shows that the screen is a limitation, but not a complete limitation.

It's not that there's no audience, but rather that the film's quality isn't up to par.

You don't know how much potential there is until you experience it firsthand.

Han Sanping leaned back in his chair, his gaze somewhat distant: "I had thought of it, but I didn't expect it to be this good!"

He recalled an incident from the past: "About ten years ago, I went to South Korea for a business trip. Around 10 p.m., I passed by a movie theater in Seoul, and it was still bustling with people, with young people queuing up."

"At that moment, I felt a sense of profound tragedy."

"Because at that time in the country, many cinemas were deserted at night, and almost no one watched domestic films."

His voice became more enthusiastic, "But things are different now. Chinese films are just like South Korea was back then, or even more exciting!"

He provided a set of comparative data.

"The period from 1997 to 2002 was a low point for Chinese cinema. During that time, domestic films were almost abandoned by the international community."

"But what about now? Audiences are flocking to watch domestic and Chinese-language films. In the past six years, the overall box office share of American films in China has been declining, and the box office per film has also been declining."

"In the past three years, it has been difficult for American blockbusters to gross over 100 million yuan at the Chinese box office, but more and more Chinese films have grossed over 100 million yuan. In 2008, including the annual box office champion 'Lost in Thailand,' a total of 12 films broke the 100 million yuan mark, of which eight were domestic films!"

Han Sanping is very proud, and he deserves credit for his success today.

"In 2008, China's box office revenue exceeded 5 billion yuan, entering the top ten in the world for the first time. Domestic films contributed more than 66% of the revenue, surpassing imported films for six consecutive years."

"The box office for the just-concluded New Year's Day holiday season exceeded 700 million yuan. With the Spring Festival holiday season approaching, the box office for 'Red Cliff Part II' and 'Crazy Racer' is sure to break 1 billion yuan!"

"The New Year's Day and Spring Festival holiday seasons have given Chinese films a great start this year. It can be said that Chinese films have become a major highlight of the current Chinese economy."

Han Sanping specifically mentioned the crucial role of reform and opening up.

"After joining the WTO, we faced a survival dilemma of 'the wolf is coming.' But from 2003 to 2005, the government introduced a series of policies and measures to promote the reform and development of domestic films, from improving the quality of creation to promoting the reform of state-owned enterprises, from encouraging private capital to the reform of the cinema system. These reforms stimulated the vitality of Chinese films."

"In 2002, China's box office revenue was less than 10 billion yuan, with about 100 domestic films produced and more than 1400 screens. By 2008, the number of domestic films produced had reached 416, ranking third in the world, and the number of screens had increased to more than 4000."

The reporter asked about the future of Chinese cinema and the film development system.

Looking to the future, Han Sanping was energized, and his direction was very clear.

"Chinese films must unswervingly follow the path of serving the audience in the future."

“In the past, some of our films were ‘made behind closed doors,’ with more consideration for so-called ‘art’ and less consideration for market demand.”

"Now and in the future, we must be closely aligned with market demands."

Han Sanping reiterated the path for "Chinese cinema".

"What we want to build is a Chinese film system based on local culture and audience emotional identification."

Shen Shandeng's success is inseparable from him, so Shen Shandeng's philosophy is also his.

Moreover, Shen Shandeng doesn't work within the system, so there's no harm in using him.

Han is done. (End of Chapter)