Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 424, Section 422: Yang Huasha
On the last two days in Los Angeles, the itinerary was no longer limited to the fantastical Disney headquarters area.

As planned, the hotel suite where the Chinese film delegation was staying was transformed into a temporary, high-standard reception room.

Chinese filmmakers and cultural figures from all over the United States, especially the West Coast, came to meet the delegation from their homeland.

In the suite's living room, soft California sunlight streamed through the floor-to-ceiling windows, illuminating the exquisite oriental carpet.

The aroma of tea wafts gently, mingling with the rich flavor of coffee.

Wang Sheng and Zhu Yongde, as the core of the delegation's business and production teams, along with the deputy director of the State Administration of Radio, Film and Television and officials from the Foreign Affairs Department, received these compatriots who had wandered overseas but whose hearts were with their homeland.

The attendees came from diverse backgrounds, including Chinese screenwriters and independent producers struggling to climb the Hollywood ladder, scholars teaching at universities and dedicated to researching the history of Chinese cinema, and several influential leaders of Chinese cultural associations in the community.

They brought not only insights from their respective fields, but also a complex emotion—amazement at the rapid development of the Chinese film market, and a desire to find their own cultural identity and industry breakthroughs in a foreign land.

Among them, producer Ms. Yang Huasha, whom Zhu Yongde had contacted in advance, arrived as scheduled.

She was around fifty years old, well-dressed, and had a pair of eyes full of passion and determination beneath her neat short hair.

Unlike some Chinese Americans who deliberately downplay their cultural background, she exudes a strong sense of identity with Chinese culture in her words and actions.

"Mr. Wang, Mr. Zhu, I've heard so much about you!"

Yang Huasha's Mandarin had a slight Taiwanese accent, but his tone was sincere and forceful. "Especially Mr. Wang, the success of your 'Shaolin Soccer' in North America is truly an honor for us overseas Chinese filmmakers!"

"Ms. Yang, you flatter me. It's the audience's kindness that's appreciated." Wang Sheng shook hands with her, his attitude gentle.

He recalled Zhu Yongde's introduction on the plane and was also somewhat curious about this producer who dared to envision projects like "Bill's Spell".

Yang Huasha was clearly well-prepared.

After exchanging pleasantries, she quickly steered the conversation to the project she was pushing forward with all her might.

"Mr. Wang, Mr. Zhu, to be honest, I am currently devoting all my energy to the 'Bill's Spell' project."

She opened her briefcase, took out a more detailed project plan, and distributed it to Wang Sheng and Zhu Yongde. "We hope to use the historical event of President Clinton's visit to China to weave a fantasy adventure story that combines Qin terracotta warriors, ancient incantations, and modern archaeology to show the world the profound historical heritage of Xi'an and even China, but it is by no means the kind of sensationalist or backward perspective."

Wang Sheng flipped through the project proposal. The concept was indeed bold, attempting to combine political reality with fantasy legends, which was avant-garde in 2002.

The proposal also mentioned the hope of inviting renowned musician Tandon to compose the music, demonstrating Yang Huasha's ambition in resource integration.

“Ms. Yang’s original intention was very good.” Wang Sheng put down the plan and looked at her with sincerity. “Breaking the West’s stereotypes about China and conveying culture through commercial genre films is also the direction I have been working towards.”

Upon hearing this, Yang Huasha's eyes flashed with the joy of having found a kindred spirit.

However, Wang Sheng subtly shifted his tone, raising a crucial question: "However, projects involving real political figures, especially former US presidents, present extreme challenges in balancing copyright, image usage, and script sensitivity."

Yang Huasha's excitement subsided slightly, and he sighed, "To be honest, Mr. Wang, there are indeed many difficulties."

Communication with Clinton's office was a lengthy process. Although the investors I contacted had signed a letter of intent, the funding was contingent on the final draft of the script and the final confirmation from the creative team.

Mr. Jet Li has expressed interest, but needs to see the complete script and more concrete production guarantees. Ms. Zhang Ziyi's team is also in contact, and everything is progressing smoothly.

Listening to Yang Huasha's introduction, and considering that he had no recollection of this project in his previous life, Wang Sheng basically made a judgment in his mind.

While the idea for this project is good, it involves too many aspects and has too much uncertainty. It is highly likely that it will be abandoned due to various insurmountable obstacles, or it may never even enter the actual filming stage.

At this point, a Chinese filmmaker, also from Taiwan and working in post-production in Hollywood, interjected, mentioning director Lee An: "Speaking of which, the success of director Lee An's 'Crouching Tiger, Hidden Dragon' truly opened a door for us Chinese directors in Hollywood. His narrative techniques and cultural expression are highly recognized by critics here." When Lee An was mentioned, Wang Sheng simply nodded slightly without offering further comment.

He acknowledged Li An's talent and achievements, and the cultural export significance of "Crouching Tiger, Hidden Dragon" is beyond doubt.

However, deep down, he still harbored a slight resentment towards Li An's stance and expression in the future film "Lust, Caution".

This feeling prevented him from fully agreeing with Li An, but he couldn't express it in this diplomatic setting.

Yang Huasha seemed to sense Wang Sheng's lukewarm attitude towards the topic of Li An, and naturally steered the conversation back to herself. She remarked, "Seeing that there are filmmakers like you, Mr. Wang, in mainland China who are not only proficient in business operations but also accurately grasp the pulse of the times and promote Chinese culture to the international stage in a way that young people enjoy, truly surprises and excites me! This is far more powerful than those of us who are fighting alone overseas."

Her tone carried genuine admiration, but also a hint of barely perceptible envy.

The strong market vitality and content innovation capabilities demonstrated by Wang Sheng and Shengying Media behind her have shown her another possibility—a path that is rooted in the booming local market and then radiates globally.

Her conversation with Wang Sheng, to some extent, strengthened her resolve to promote "Bill's Spell." She hoped to build a bridge for cultural exchange between East and West, just like Wang Sheng, even if the path she chose seemed more arduous.

Wang Sheng had a very good impression of Yang Huasha.

He could sense the female producer's indomitable spirit and her insistence on presenting Chinese culture in a positive light, which was completely different from those so-called "artists" who blindly catered to Western prejudices in order to win awards.

"Ms. Yang's persistence and dedication are admirable." Wang Sheng raised his teacup and toasted Yang Huasha with tea instead of wine. "Although this project is very challenging, her sincerity is invaluable. I hope that in the future, when the time is more right, we may be able to find an opportunity to cooperate."

He did not make any specific promises, but the word "cooperation" itself gave Yang Huasha a glimpse of great possibility and hope.

She clinked glasses with Wang Sheng and repeatedly said, "Definitely, definitely! I look forward to the day I can work with President Wang!"

What Wang Sheng didn't know was that Yang Huasha, who was advocating for the film project, would show even greater ambitions and influence in the future.

She will take the lead in proposing at the National Convention of the American Chinese Association in 2009 to push the U.S. Congress to issue a formal apology for...

Subsequently, he united with Chinese American leaders such as Judy Chu and lobbied with five major Asian American organizations. Through their efforts, they finally persuaded both the U.S. Senate and House of Representatives to unanimously pass an apology bill in 2012.

In 2014, the contributions of early Chinese laborers to the construction of the United States were officially inscribed in the U.S. Department of Labor's Hall of Fame.

Her life trajectory has long transcended the success or failure of a single film, making her a remarkable woman who has promoted the progress of Chinese American rights.

The meeting lasted for nearly two hours. In addition to Yang Huasha, Wang Sheng and the delegation also met with several other representative Chinese figures, including Chinese actress Lu Yan, who had already made a name for herself in Hollywood.

Ms. Lu Yan shared the difficulties and breakthroughs faced by early Chinese actors in Hollywood, and expressed high hopes for the future development of Chinese films.

After seeing off the last visitor, the suite returned to quiet for a while.

Zhu Yongde rubbed his temples and sighed, "Overseas Chinese are devoted to their motherland and have a wealth of talent, but it is indeed not easy to truly establish oneself in Hollywood and create influential works."

Wang Sheng did not offer much comment.

Films involve ideological issues, and only a few can be exported under specific historical windows and opportunities.

In Hollywood, where capital is highly concentrated, film companies owned by Chinese Americans have virtually no say.

Of course, Wang Sheng still admires Ms. Yang Huasha, just for her attitude towards those award-winning films.

(End of this chapter)