Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 541, Page 539: Filming is filming, revising is revising
Wang Sheng calmly picked up the ginseng tea in front of him, took a sip, and remained composed.

He put down his teacup, his gaze sweeping calmly over everyone present before finally settling on Lee Ho-dong and Park Jin-hwan. He began his speech in a tone that, even through translation, conveyed his composed demeanor.

"Thank you, Chairman, and thank you all for your enthusiasm. Before discussing the specific 'Seoul Farewell' project, I would like to express my personal, and Sheng Ying Media's, admiration for the Korean film industry, especially its profound accumulation in the field of realistic themes."

He set the tone of "admiration" from the outset, which made the smiles on the faces of the South Korean representatives even brighter.

“Over the past few years, I have followed a lot of Korean films through President Jung Tae-won and other channels.”

Wang Sheng continued, speaking sincerely, "I must say that South Korean filmmakers have demonstrated amazing courage and talent in exploring social realities, confronting the complexities of human nature, and touching upon historical wounds."

For example, there's *Peppermint Candy*, which reflects on an incident in a certain state; *Oasis*, which focuses on marginalized people; and the recent, highly impactful *Old Boys*…

He listed several realist masterpieces that had generated a huge response in South Korea and received much attention at international film festivals, as if they were his own treasures.

These films are all known for their sharp social criticism and profound analysis of human nature.

"This creative attitude of being rooted in reality, not avoiding contradictions, and daring to question the soul has formed a very unique and precious 'realist soil' for Korean films."

Wang Sheng's voice carried a perfectly timed admiration: "Works nurtured by this kind of environment possess a powerful vitality and appeal, an advantage that many other countries' film industries, including Hollywood at its current stage, cannot match. It gives Korean films their own soul and character."

These words resonated with many South Korean filmmakers present.

Director Lee Chang-dong nodded slightly, and producer Kim Dong-ho also showed an expression of deep agreement.

This is precisely the "Korean film spirit" that they are so proud of—daring to expose the darkness and confront social ills.

however,
Wang Sheng subtly shifted his tone, seemingly still praising, but actually concealing a hidden meaning:
"What is particularly remarkable is that, despite these films profoundly revealing many social issues and sparking widespread public discussion and reflection, the creative environment in South Korea is still able to tolerate such in-depth exploration and criticism, which in itself demonstrates the maturity and confidence of South Korean society."

This creative orientation of 'revealing problems' has formed a unique cultural landscape, like a tireless mirror that continuously reflects the sharp edges of reality.

This almost obsessive focus on reality and unwavering creative habit are truly impressive.

The subtext of these words is—you are indeed very daring and good at filming the dark side of society, but no matter how many times you film, the problems seem to be the same, and society remains the same.

Anyway, you can make your own films, but whether reality changes or not is another matter.

This cryptic praise caused a subtle, almost imperceptible glint in the eyes of a few astute business tycoons like Lee Mi-kyung, but most of the South Korean representatives, immersed in their cultural pride, did not immediately grasp its deeper meaning. Instead, they felt that Wang Sheng, this internationally renowned director, indeed had a unique vision and a profound understanding of the essence of Korean cinema.

Wang Sheng didn't give the other party time to ponder the matter, and immediately steered the conversation toward the international stage.

"It is precisely because of this deep-rooted realism that South Korean films have repeatedly won awards at the three major European film festivals."

He continued, readily citing data: "Director Im Kwon-taek gained attention at Cannes many years ago with 'Seopyeonje,' director Lee Chang-dong's 'Oasis' won the Silver Lion for Best Director at Venice, and director Park Chan-wook's 'Oldboy' just won the Jury Prize at Cannes... These achievements fully demonstrate the artistic value of Korean realist films, which have been recognized by the world's top art film halls."

The achievements he listed were all glories that the South Korean film industry was proud of, which further solidified the other party's goodwill.

"The film collaborations between China and South Korea over the past few years have also proven the market chemistry that can be generated by our joint efforts."

Wang Sheng then reviewed the results of their collaboration, his tone becoming more persuasive: "In the past two years, our co-production, 'If Love Has a Destiny' (Wang Sheng's heavily modified version), blended the subtle emotions of the East with the rhythm of modern narrative. It not only grossed nearly 80 million RMB in China, but also attracted over three million viewers in South Korea, becoming a dark horse in the romance film genre that year, achieving both critical and commercial success."

"Furthermore, the Sino-Korean co-production 'Happy Family 2', while continuing the series' heartwarming comedy style, incorporated more localized jokes and emotional resonance, earning 1.2 million yuan at the Chinese box office and achieving impressive results in South Korea, exceeding the break-even point and maintaining the series' reputation. All of this demonstrates that our cooperation model has been market-tested and is successful."

The two success stories he mentioned were based on solid data, which drew nods of approval from representatives of companies like CJ and Showbox present. Partnering with Wang Sheng can indeed bring tangible financial returns.

Having laid this groundwork, Wang Sheng felt it was time to reveal his true intentions and "artistic pursuits."

"However,"

With a slight shift in his tone, his voice revealed a perfectly timed "weariness" and "sublimation" befitting an artist: "In the realm of commercial genre films, after achieving a series of successes such as 'Night at the Museum,' 'Kung Fu Hustle,' and 'Spy Kids,' to be honest, I personally feel a bit weary of commercial blockbusters that purely pursue box office success and visual spectacle."

He leaned back slightly, his eyes revealing a yearning for a higher level of expression. "The charm of film goes far beyond entertainment. It should be a scalpel, delving into the subtleties of human nature; it should be a mirror, reflecting the joys and sorrows of the times. So now I want to 'dabble in art' and film 'human nature'."

He gave an example: "Take 'The Pursuit of Happyness,' which I directed in Hollywood. It's a movie without dazzling special effects or intense action scenes. It focuses on the struggles and efforts of a father from the lower class, and explores hope, perseverance, and fatherly love."

Although it failed to win any major awards at the Oscars, which was a bit of a disappointment, it still grossed over $100 million worldwide, especially in North America.

This proves that works that sincerely explore human nature and reflect reality also have a wide audience, and their social value and emotional impact sometimes far exceed that of a popcorn blockbuster.

By juxtaposing the "commercial success" of "The Pursuit of Happyness" with its "artistic pursuits," he cleverly demonstrates the "rationality" and "market feasibility" of his shift to art films.

“Therefore,” Wang Sheng finally revealed his true intentions, looking intently at the South Korean team, “my idea for this year’s Sino-Korean co-production project is no longer to repeat past collaborations on commercial genre films.”

I hope that we can combine our best resources to create a realistic art film that can truly compete in the main competition of the three major European film festivals, aiming for the Golden Lion, the Palme d'Or, or the Golden Bear, as well as the Oscars!

This is the origin and positioning of the "Seoul Farewell" project.

He paused, then outlined the blueprint and defined the boundaries of power in an unquestionable tone: "This film will be the starting point for my personal directing and in-depth cooperation with the South Korean side."

It will make full use of South Korea's rich realist creative environment and superb production techniques to tell a story with universal values ​​that profoundly questions the human dilemmas of contemporary East Asian society.

I believe that, with our combined efforts, we are fully capable of creating a work that will garner attention in Venice, Cannes, or Berlin.

“Of course,” Wang Sheng’s voice softened, but every word carried immense weight. “The premise of cooperation is mutual trust and professional division of labor. I understand our Korean friends’ eagerness to further open up international markets, including the mainstream Hollywood market, through cooperation.”

But artistic creation, especially auteur films aimed at top film festivals, requires absolute creative purity and autonomy. Give me ample trust and room to maneuver; don't interfere too much. What we need is collaboration and complementarity, not internal conflict.

These words were blunt and forceful, clearly indicating that the initiative was in his hands.

If you want to leverage his fame and resources to break into the higher echelons of international art film circles, you must accept his rules of the game.

A brief silence fell over the room. Lee Mi-kyung, Lee Soo-man, and others exchanged glances, while Vice Minister Park Jin-hwan and Chairman Lee Kai-dong also pondered for a moment.

Wang Sheng's conditions were very demanding, but the "three major European countries" pie he painted was just too tempting.

This is not just about box office revenue, but also a symbol of the country's cultural soft power and a higher level of international recognition that the South Korean film industry has been dreaming of.

Moreover, the successful collaborations he cited earlier and the example of "The Pursuit of Happyness" also demonstrate his ability to create works across cultures and genres.

Finally, after a brief, hushed exchange between Chairman Lee Hok-dong and Vice Minister Park Jin-hwan, Lee Hok-dong spoke on behalf of the delegation. He wore a solemn smile and spoke with great certainty:

"President Wang Sheng, we deeply admire your artistic pursuits and strategic vision! We are also deeply moved by your profound understanding of the Korean film realism tradition. Please rest assured that the Korean side, from the government to the industry, will give its full support to projects like 'Seoul Farewell,' which aims to reach the pinnacle of art!"

He specifically emphasized the word "support," and continued:

"We know that excellent works of art require a free creative space. We have faith in Chairman Wang Sheng's talent and judgment."

This fertile ground—whether it's the real creative environment or the collaborative environment we provide—will allow Chairman Wang Sheng to cultivate and develop his art to his fullest potential!

We will never create obstacles in your core creative process; we will only do our utmost to provide you with all the production support and resources you need!

The statement was clear and firm, which was tantamount to officially recognizing Wang Sheng's absolute dominance in the "Seoul Farewell" project.

A satisfied smile appeared on Wang Sheng's face.

The most important strategic objective of this trip has been achieved.

(End of this chapter)