Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 459, Section 457: Test Screening

The afternoon sun in Burbank, Los Angeles, streamed through the blinds of the New Line Cinema's top-floor conference room, creating alternating stripes of light and dark on the floor.

Inside, the discussion about the "MR. & MRS. SPY" (spy house) project was nearing its end.

After several hours of intense discussions and refinement, Wang Sheng's "deep co-production" model finally resulted in a win-win cooperation plan for both parties.

“Well then, let’s finalize the key points of the collaboration.” Kevin Brown put down his coffee cup, glanced at the memo in front of him, and spoke with a relaxed and satisfied tone, as if a consensus had been reached.

"The project, 'MR. & MRS. SPY,' has a tentative production budget of US$60 million. Sheng Ying Media will invest US$6000 million, holding a 40% stake, and will be responsible for leading distribution in East Asia and Southeast Asia. New Line Cinema will invest US$2000 million, holding a 4000% stake, and will be responsible for distribution in other regions worldwide, as well as leading production. Both parties will share global box office revenue and derivative profits according to their investment ratio."

Wang Sheng nodded slightly and added, "The key point is that the creative leadership, including the final editing rights, will be exercised jointly by our side, that is, the director himself, and the producer designated by New Line, to ensure the consistency of the film's style and the integrity of the core concept."

Toby Emmerich, representing the New Line Cinema production team, nodded in approval: "Of course, Wang, we trust your vision and control. Night at the Museum has proven that. New Line's production resources will fully support your creative process."

"We'll start the selection process for the male lead as soon as possible, aiming for a top-tier star with global appeal who can handle action-comedy. The same goes for the female lead." Michael De Luca flipped through the initial list of suggestions from the casting department. "This will be one of our most important projects next year."

Mark Riddell added from a market perspective: "In terms of distribution strategy, we will position it as an A-list blockbuster for the summer or Christmas season, and match it with corresponding publicity and distribution resources. New Line Cinema will take the lead in marketing in the North American and European markets, but we hope that Sheng Ying can provide in-depth collaboration in the Asian market."

“That’s natural,” Wang Sheng agreed.

With this plan, Shengying secured distribution rights in key markets and crucial creative control with a 40% investment. At the same time, it leveraged New Line's global channels to share in the profits of a larger market and officially entered the mainstream Hollywood commercial film field with its directorial influence.

For New Line, this means another project with huge potential to be a blockbuster, a talented director from the East who has already proven his talent in the market, and an opportunity to further expand into the Asian market. The main costs are funding, production resources, and a portion of distribution profits. The risks are manageable, and the potential profits are considerable.

“It’s a pleasure working with you, Wang!” Kevin Brown stood up, extended his hand to Wang Sheng again, and smiled broadly. “I have a feeling that ‘MR. & MRS. SPY’ will once again shock the world, just like ‘Night at the Museum’.”

"I look forward to another successful collaboration with you all." Wang Sheng shook hands with him, his tone calm yet full of strength.

After the business was concluded, the atmosphere in the meeting room became even more harmonious.

At this moment, Wang Sheng casually mentioned, "By the way, Mr. Brown, Mr. Emmerich, the post-production of 'SAW' is finished. If you have time, why don't you take a look at the rough cut now?"

The SAW project did not cause much of a stir among Newline's senior management.

A psychological thriller with an investment of only a few million US dollars and a shooting period of only twenty days seems insignificant compared to Wang Sheng's big projects that often cost hundreds of millions.

If it weren't for respect for Wang Sheng himself and the positive collaborative momentum brought about by "Shaolin Soccer," a film of this scale would hardly even be on the agenda of a meeting at their level.

Kevin Brown glanced at his watch and smiled, “Of course, Wang, we are interested in any of your work.”

Despite the polite words, the executives were visibly more relaxed, treating this as a lighthearted activity after the formal talks.

The group moved to a small screening room inside the new line.

The lights dimmed, and the screen lit up.

Without a dazzling opening or well-known actors, SAW, with its unique cold, oppressive tone and the documentary feel of handheld photography, instantly pulls the audience into a dirty, dilapidated basement prison.

As the plot unfolds, the two trapped individuals gradually realize they've fallen into a deadly game designed by a psychopathic killer known as "Jigsaw." They must follow recorded instructions and perform extremely cruel self-sacrifices to survive… The despair of the confined space, the escalating suspense, the moral dilemmas that pierce the dark side of human nature, and the unexpected, extremely bloody yet logically sound "rules of the game" gradually freeze the air in the screening room. These executives at New Line Cinema, what big-budget productions and scenes haven't they seen?
But the primal, psychologically-defensive fear in SAW gave them a long-lost, spine-chilling discomfort and...excitement.

When the film ended, the "corpse" that had been lying in the middle of the bathroom floor suddenly stood up slowly, and under the terrified gaze of the surviving Adam, uttered the chillingly classic line: "Game Over.", and slammed the iron door shut, cutting off the last glimmer of light and hope, the screening room fell into a deathly silence.

The lights came on, so bright that it was hard to open one's eyes.

The senior executives of the new line exchanged glances, their faces still showing lingering fear. A silence lasted for more than ten seconds.

Ultimately, it was Toby Emmerich who broke the silence first.

He took a deep breath, his eyes sharp as he looked at Wang Sheng, his voice filled with disbelief and astonishment: "Wang...this film...this film..."

He seemed unable to find the right words for a moment, “It reminds me of how we felt a long time ago when we first saw the rough cut of ‘A Nightmare on Elm Street’.”

This statement is like a stone thrown into a calm lake.

The veteran officials of the new line present were all deeply moved.

New Line Cinema started with the low-budget horror film series "A Nightmare on Elm Street" and gradually developed into the mainstream Hollywood studio it is today.

Although they are now managing large projects worth hundreds of millions of dollars, their ingrained instinct for horror films—which can generate huge profits with small investments and ignite the market—has not completely disappeared.

"Extremely low cost, extremely strong concept, and the scare tactics are designed... very cleverly, even cruelly so."

Michael De Luca chimed in, rubbing his chin, "The sense of despair and moral dilemma created by this confined space will have a huge impact on young viewers. And the twist at the end... it's so powerful!"

Mark Riddell has recovered from his initial shock, and his professional instincts are kicking in: "If the marketing is done right, and it targets teenagers and core horror movie fans precisely, with this unique concept and strong potential for word-of-mouth growth... it might... no, it could very well replicate or even surpass the success of 'A Nightmare on Elm Street' and become another phenomenal horror movie IP!"

Kevin Brown didn't speak, but the glint in his eyes said it all.

As the head of the international division, he valued global blockbusters like "MR. & MRS. SPY" more, but as a member of New Line Cinema, he couldn't ignore the amazing returns that "SAW" might bring.

This is like finding a piece of gold hidden in mud and sand!
Wang Sheng took in everyone's reactions, his face still showing the same calm and collected expression. He was well aware of the horror craze that "Saw" had created in the original timeline and its value as a long-running IP, so the "sudden realization" of the New Line Cinema executives at this moment was entirely within his expectations.

“Wang, the copyright for this SAW…” Kevin Brown finally spoke, his tone much more eager.

“The copyright belongs entirely to the independent production company under Shengying Media,” Wang Sheng clearly stated, indicating ownership. “If New Line Cinema is interested, we can discuss distribution rights in North America and other specific regions. Of course, given its potential to become a ‘phenomenon,’”

He specifically repeated Mark Riddell's earlier words: "The issuance conditions need to be reassessed."

Toby Emmerich sighed, with a mix of self-deprecation and genuine admiration: "Wang, you always manage to surprise us. First, there was the comedy of Shake Soccer, then the fantasy of Night at the Museum, and now the horror of SAW... Your control over different genres is astonishing."

Wang Sheng smiled slightly, accepting the praise, but did not become complacent.

“I hope so,” he said in a flat tone, devoid of much emotion, as if he were talking about something trivial that had nothing to do with him. “I hope it will add another memorable name to New Line’s horror film library.”

(End of this chapter)