Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 112: The Eight Swords of the New Year

February 10, 1997, the fourth day of the first lunar month.

The festive atmosphere of the Spring Festival has not completely dissipated, and the living area of ​​Beijing Film Studio still retains the remnants of firecracker debris and a languid New Year's feel.

But inside the familiar conference room in the main building of the factory, a bustling scene was already underway.

The energy accumulated after a short holiday rest is now ready to be released.

At 9:00 a.m. sharp, Wang Sheng and Han Sanping walked into the conference room together.

Wang Sheng changed into a dark blue jacket, looking energetic and capable; Han Sanping, on the other hand, was still wearing a meticulous Zhongshan suit, with a ruddy complexion and bright eyes.

The long conference table was already piled high with manuscripts and folders, and the air was filled with the unique smell of ink, paper and cigarettes.

Directors Huo Jianqi, Huo Zhuang, Zhang Yang, and Wu Yiyi had already arrived and were talking quietly with a dozen or so screenwriters sitting around them.

Upon seeing Wang Sheng and Han Sanping enter, everyone stood up to greet them, and the conference room was filled with greetings of "Director Han," "General Manager Wang," and "Happy New Year."

"Please sit down, please sit down!" Han Sanping said with a smile, gesturing with his hands. "The New Year is over, it's time to get back to work! This year our tasks are much heavier than last year's, so we need to take bigger steps!"

Wang Sheng walked to the table, his gaze sweeping over every director and screenwriter present, and got straight to the point: "Dear teachers, a new year brings new beginnings. Let's get straight to the point. Today's meeting has only one purpose—to finalize the first batch of projects for our alliance's mass production of television films, which are the eight films that will begin filming this month."

He patted the thick stack of manuscripts on the table: "These are some of the scripts submitted over the past month or so, collected through the Popular Cinema magazine, submissions from screenwriters within the studio, and students from the Literature Department of Beijing Film Academy, as well as some mature ideas that we've discussed internally. There's a lot of material, and the quality varies. Today, all the directors and core screenwriters need to go through these scripts together, pick out the eight most suitable ones, and immediately begin the preparation stage."

Everyone's expressions tightened, realizing that this was truly the "first shot of the year," and of great significance.

Success or failure directly affects the smooth implementation of the alliance's "low profit, high volume, rapid expansion" strategy.

"The rules remain the same," Wang Sheng added, "The subject matter is not limited, but the story must be solid, the characters must be believable, the cost must be controllable, and the production cycle must be guaranteed. Most importantly, it must be something that the general public can sit through, get into, and enjoy watching!"

The meeting then moved into an intense script discussion session.

The secretary distributed the preliminary selection of more than twenty script outlines and partial complete drafts to the directors and screenwriters.

For a moment, the only sounds in the conference room were the rustling of turning pages and the occasional low murmurs of discussion.

Wang Sheng and Han Sanping sat in the main seats, listening carefully to everyone's speeches and occasionally interrupting to ask for details.

After nearly three hours of intense discussion, deliberation, and even debate, taking into account the directors' strengths and the maturity of the scripts, eight television movie projects were finally selected as the first batch of production projects for this month:
1. "Get on the bus, let's go!" (tentative title)
Genre: Realism/Light Comedy

Synopsis: Set in the mid-1990s, this story follows a laid-off worker's family in Northeast China. The father borrows money to buy a secondhand Xiali taxi and takes his son, a recent high school graduate who failed to get into university, to work together as taxi drivers. In their cramped taxi, the father and son witness the coldness and warmth of human relationships in Beijing, experiencing various comical and absurd events, ultimately coming to understand each other and finding a new direction in life.

Its contemporary relevance lies in its focus on the social issue of re-employment for laid-off workers, reflecting the resilience and optimism of ordinary people amidst societal changes. It is warm, humorous, and relatable.

Director: Huo Jianqi. The role requires a deep understanding of the nuances of everyday life and the subtle shifts in the father-son relationship; it presents a significant challenge.

2. "Wedding Dress" (tentative title)
Genre: Family ethics/heartwarming
Synopsis: A retired tailor, determined to make up for not being able to give his wife a proper wedding when they were young, pours all his skills into crafting a unique wedding dress for his wife on their golden wedding anniversary. The process unravels the emotional struggles of their children, ultimately culminating in a simple yet heartwarming family "wedding" that unites the entire family.

Contemporary Value: Focusing on the emotional needs of the elderly and intergenerational family relationships, promoting traditional crafts and marriage values, and evoking warmth and tears.

Commercial Value: Assisting Shengying Media in expanding its golden wedding anniversary video recording business.

Director's assignment: Huo Zhuang. Skilled in handling family scenes and character relationships, requiring precise control of emotional pacing.

3. *Sleepless Nights in Beijing*

Genre: Urban Romance / Light Suspense

Synopsis: One rainy night, a female editor from a publishing house is on her way home from working overtime when she encounters a mysterious man at the subway station, leaving behind an important manuscript. This triggers a series of coincidences and a search, gradually revealing the man's backstory, and a subtle romance develops between the two. The story unfolds against the backdrop of Beijing's night scene, brimming with urban romance.

Its contemporary relevance lies in showcasing the lives and emotions of urban youth in the 1990s, with a touch of genre exploration that appeals to young audiences.

Director: Zhang Yang. This role aligns with his artistic temperament and ability to grasp urban emotions; the difficulty level is moderate. 4. *The Return of the Chess King*

Genre: Drama/Inspirational
Synopsis: A contemporary adaptation of the novel of the same name. A once-prodigy Go player, forced to abandon the game due to family misfortune, ends up on the streets, setting up Go puzzles to make money. A chance encounter with a dedicated veteran Go player and a spirited little girl rekindles his love and reverence for the game, ultimately leading him to rediscover himself in a grassroots Go tournament.

Contemporary Value: Promoting traditional culture (Go), exploring the conflict between dreams and reality, and inspiring aspirations.

Director assigned: Huo Zhuang. The story has depth and well-developed character arcs, so a veteran director is needed to oversee it.

5. Crazy Lottery

Genre: Dark humor/comedy
Synopsis: In a Beijing alley, a winning lottery ticket worth ten thousand yuan unexpectedly circulates among several ordinary people, triggering a series of absurd misunderstandings, struggles, and tests of human nature. Ultimately, the ticket disappears without a trace, but everyone gains some insight from the farce.

Its contemporary relevance lies in its satire of the current "lottery craze" and everyday life, resulting in a strong comedic effect and high entertainment value.

Director: Wu Yiyi. The story structure is relatively simple, relying on coincidences and exaggerated performances, making it suitable for him to hone his control over comedic rhythm.

6. *Left-Behind Sisters*

Genre: Realistic/Women

Synopsis: Set in a rural village in southern China in the early 1990s, the story revolves around two sisters who become "left-behind children" because their parents work away from home year-round. The older sister, precocious and resilient, takes on the responsibility of caring for her younger sister and the family, while the younger sister is innocent and rebellious. The story focuses on their growing pains, their deep sisterly bond, and their longing for their parents' return.

Its contemporary relevance lies in its insightful portrayal of the issue of left-behind children amidst the backdrop of the "migrant worker boom," conveying genuine emotion and possessing social significance.

Director: Huo Jianqi. This requires profound humanistic concern and a delicate female perspective; it's a challenging task.

7. *Springtime in the Laboratory*

Genre: Campus/Romance/Light Comedy

Synopsis: A submission from a student in the Literature Department of Beijing Film Academy. Set on a university campus in the 1990s, the story follows a chemistry-obsessed engineering student and a lively, outgoing humanities student who meet while jointly managing an unused laboratory. During preparations for the campus arts festival, a series of hilarious and heartwarming events unfold, sparking a budding romance.

Contemporary Value: It showcases a pure campus life and youthful spirit, in a lighthearted and enjoyable way, making it suitable for young student audiences.

Director assigned: Zhang Yang. The campus theme is close to his age and experience, making it easy to handle.

8. The 101st Proposal

Genre: Romance/Comedy
Synopsis: A kind-hearted young man from Beijing, whose marriage proposals have repeatedly failed, gets caught up in a small misunderstanding on his 101st attempt to propose to the girl he admires. However, this mishap turns out to be a blessing in disguise, as his sincerity and humor win over the girl and her family. The story is simple, but packed with laughs.

Its contemporary value lies in its focus on romantic comedies, catering to audiences' desire for lighthearted entertainment, and its low production costs.

Director: Wu Yiyi. The story is formulaic and the plot is simple, suitable for experienced workers to practice fast-paced filming.

……

Everyone raised their hands to vote and it was approved.

"Okay! It's settled!"

Wang Sheng slammed his hand on the table and summarized: "Director Huo is in charge of 'Get on the Bus!' and 'Sisters Left Behind,' which is the heaviest task; Director Huo Zhuang is in charge of 'Wedding Dress' and 'The Return of the Chess King'; Director Zhang Yang is in charge of 'Sleepless Nights in Beijing' and 'Spring in the Laboratory'; Director Wu Yiyi is in charge of 'Crazy Lottery' and 'The 101st Proposal'."

First, we'll prepare to film four movies: "Get on the Bus," "Wedding Dress," "Sleepless Night in Beijing," and "Crazy Lottery."

He looked at the four directors: "Regarding the actors, priority should be given to selecting from our Beijing Film Studio Actors Troupe and from current students or graduates of our closely cooperating Beijing Film Academy and Central Academy of Drama. They need to have solid acting skills, reasonable prices, and high cooperation. Submit the list to me and Director Shi of the Arts Office as soon as possible for review. The main actors must be in place within a week!"

Han Sanping concluded, “Comrades, these eight films are the ‘eight swords’ of our alliance at the start of the year! Whether we can carve out a path in the television and film market depends on you all! The studio and the alliance will fully support you, providing manpower and equipment as needed! I have only one requirement: speed, quality, and economy! Show the power of our film studio alliance!”

After the meeting, the directors and screenwriters immediately took the selected script outlines and began intensive work on refining and preparing for the upcoming events.

(End of this chapter)