This celebrity is overly enthusiastic!

Chapter 68 Training Talent
Chen Yuan seemed to have suddenly become an actor overnight, which deeply shocked all the main creators of the production team.

He's skilled in kung fu, his action choreography is impressive and well-done, and the lighting is also very high-quality. However, his acting was indeed a drag on the production team before.

However, the crew at Labahe is in good condition right now. The repeated takes are only tiring for Chen Yuan, and the actual progress has not been delayed much.

But now, Chen Yuan can really laugh or get angry whenever he wants, and he can also show a progressive range of emotional changes, and he can keep up with others when acting together!
In reality, Chen Yuan was holding back; otherwise, he would have fully utilized Chen Hong's acting experience and insights.

It would make actors like Yang Xue and Sha Yi, who don't have much acting experience, look rather awkward, which would actually lower the overall viewing experience of the series.

He only demonstrated an acting level similar to that of these formally trained students.

Seeing Chen Yuan's amazing performance, Chen Hong was even more shocked than the average person.

She could clearly see the traces of her teachings in Chen Yuan's face and in the details of his body language that expressed his emotions.

It turns out that Chen Yuan came to see her not just to flirt with her, but also to seriously learn and understand what she was teaching!

A unique sense of accomplishment welled up in my heart.

I never expected that Chen Yuan, who is already so versatile, would also be so talented in acting.

In order not to let him waste his rare talent, Chen Hong felt it was necessary to teach him more advanced acting skills and encourage him to come to her room more often in the future!

Chen Yuan's acting skills didn't hold him back, and the production team's journey became much smoother.

Chen Yuan subtly incorporated the sharp style of Devil May Cry 5 into the action scenes of "Legend of the Seven Swords".

Although Chen Yuan provided a boost to the basic movements, the difficulty of the adapted movements was indeed quite high, and even the boost was not enough to offset the high burden on the actors caused by the increased difficulty.

Even though Chen Yuan lowered the requirements again and again, and even used stunt doubles extensively for scenes where the actors' faces were not shown, the actors still complained endlessly.

Chen Yuan couldn't focus all his attention on the film crew either; the burgeoning Yuan Universe still needed him to steer it.

Fortunately, the capable assistant that Chen Yuan chose for Yuan Universe has finally responded.

In mid-October, Shi Nansheng took the initiative to contact Chen Yuan, wanting to discuss in detail the cooperation matters that they had talked about many times on the phone before.

Tsui Hark's "The Legend of Zu" was indeed a huge financial loss.

The production cost was approximately HK$8000 million, but the box office revenue in mainland China and Hong Kong combined was only HK$3000 million.

If Miramax Pictures hadn't been so optimistic about the film and paid HK$1 million to buy out its overseas rights, this project would likely have become the 'most unprofitable Hong Kong film'.

Even though "The Legend of Shushan" ultimately didn't lose money, it was still a complete failure.

China Star Entertainment, the Hong Kong film investment company that invested in Tsui Hark, was scared off by him and did not plan to continue investing in him.

Even the film "The Book and the Sword," which had already publicly announced its location scouting and casting process, was immediately canceled, and the sets built in Hengdian in advance began to be dismantled.

The failure of this ambitious work was a significant blow to Tsui Hark.

Shi Nansheng only thought of Yuan Universe, who had always admired her, after she had nowhere else to turn.

It's not that Shi Nansheng looks down on Chen Yuan; Chen Yuan is extremely capable, and people in the Hong Kong entertainment circle speak highly of him. It's just that Chen Yuan's ideas are too strange. He wants to imitate Hollywood and turn his company into a producer-centric system.

In all of China, he is probably the only one with such a bizarre idea. Hollywood has its own unique circumstances, and blindly imitating it is very likely to backfire.

I met Chen Yuan at the Yuan Universe Company in the capital, and under his guidance, I gave a detailed tour of this renowned company.

Shi Nansheng noticed that there were many young faces in the company, the atmosphere was relaxed, and the advertising planners and screenwriters were very enthusiastic about their work.

If she hadn't been told that this was the headquarters of the Metaverse, she would have even suspected that she was visiting a Silicon Valley tech company.

Through further communication, Shi Nansheng also understood that the producers Chen Yuan wanted to work with were different from those in Hollywood.

He currently only wants to cultivate some "supervisors" for the metaverse who can keep directors in check and understand the ins and outs of film and television production, which is not a difficult task for him.

What moved Shi Nansheng was that Chen Yuan was willing to give her the position of general manager of Yuan Universe, the film and television company with the best financial standing in mainland China, Taiwan, and Hong Kong, in order to win her over.

If you work there for a long time, you'll earn a good salary and stock options. Chen Yuan also stated that he wants to eventually take Metaverse public.

If successful, these stock options will be a very generous fortune.

He delegated authority swiftly and decisively, making her the second person after Chen Yuan in the Yuan Universe.

The principle of "if you doubt someone, don't use them; if you use someone, don't doubt them" applies here. Giving Shi Nansheng so much power, frankly speaking, is because the foundation of the metaverse is too shallow and there is insufficient accumulation of reliable talent.

There are indeed readily available producer talents, but their thinking and working habits have been deeply influenced by the traditional film and television production methods in China, and most of them are not suitable for the development path that Chen Yuan has planned for the Yuan Universe.

The true core team still needs to be cultivated from scratch.

Chen Yuan selected a group of people who, after a long period of observation, were particularly quick-witted and good at dealing with various parties in the advertising department and the screenwriting team as potential candidates.

In addition to handling the daily affairs of Metaverse, let Shi Nansheng mentor them and cultivate their producer mindset and experience.

The relationship between Metaverse and Columbia is currently good. If Chen Yuan maintains good contact with them in the future, he can send a few people there to study in Hollywood.

Having Shi Nansheng mentor people was certainly not just about theoretical instruction; the low-difficulty TV series "iPartment" was a perfect practice project.

It trains them to interact with directors, cinematographers, actors, advertisers, and sponsors, and to coordinate the overall situation.

After filming began for "Legend of the Seven Swords," apart from a small number of on-set writers, the Metaverse's writing team could start working on "iPartment" again.

Most people believe that the script for the sitcom "iPartment," with its fixed and singular setting, was more difficult to write than the big-budget production "Seven Swords."

There's nothing we can do about it. The Legend of Seven Swords is essentially a martial arts story about the battle between good and evil that everyone can easily understand.

"iPartment," which is adapted from many excellent American TV series, is too complicated.

"iPartment" is like a parallel world. Although they speak Chinese, the stories in it don't seem to take place in China.

Party culture, bar culture, apartment culture—these things simply didn't exist in China in 2002!
Even among young people in Shanghai, apart from those working in bars, what normal person would go to a bar every day?
Aside from the main character designs and some common jokes, a major localization adaptation is necessary.

(End of this chapter)