Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 546, Section 544: A Cameo Appearance on the International Stage

2004 4 Month 7 Day.

The filming location and outdoor shooting area of ​​Jackie Chan Happy Garden (Phase I) in Huairou, Beijing.

The seventh day of filming for "Havoc in Heaven".

The morning mist had not yet completely dissipated, but Studio One was already brightly lit and bustling with activity.

This giant film studio, built to international standards, is now being transformed into the interior of the Water Curtain Cave, the core area of ​​Flower and Fruit Mountain. A huge green screen surrounds the area, leaving room for the later compositing of a magnificent waterfall and a blessed cave.

The temperature and humidity inside the shed are precisely controlled to simulate the humid and slightly cool environment of a cave.

Art director Huo Tingxiao and his team demonstrated amazing skill.

They did not rely entirely on CG to build the environment, but rather combined it with a large number of physical constructions.

The stalagmites and stalactites inside the cave are made by molding with special resin materials, which are lifelike and cool to the touch; the "Stone Monkey Throne" in the center is even more exquisitely carved, combining natural wildness and royal grandeur, and is covered with animal skins that have been carefully aged by the props team.

Lighting designer Zhao Xiaoding's team used dozens of different types of lights to simulate the light reflecting through the water curtain, creating a mysterious yet vibrant cave atmosphere with swaying light spots and misty water vapor.

Today we're filming a grand scene of monkeys feasting.

Hundreds of stuntmen and extras dressed in custom-made monkey costumes are rehearsing their movements under the direction of action director Yuen Woo-ping and his team.

These costumes are not simple bodysuits, but are designed based on the anatomical structure of apes, with built-in movable joints, and are supplemented with special effects makeup to make the muscle lines flow naturally during movement.

The hair is made of a blend of real and artificial hair, which presents a distinct texture under specific lighting.

Liu Xiao Ling Tong (Zhang Jinlai) is wearing the early battle robe of the Monkey King - not the shiny chainmail of later generations, but a garment that is closer to a combination of oracle bone and leather, with a primitive and rugged beauty.

He sat on his throne, his eyes sparkling, scratching his ears and cheeks, interacting with several small monkeys played by actors of short stature, perfectly embodying the Monkey King himself.

To prepare for this moment, the over-40-year-old underwent months of physical recovery and practiced monkey-style movements before filming began, and is now in excellent condition.

The executive director shouted "Ready," and the scene instantly fell silent.

Wang Sheng and the chief director Xu Ke sat side by side behind the monitor.

Xu Ke was completely focused, holding a storyboard in his hand, occasionally exchanging whispered conversations with the assistant director beside him.

Wang Sheng remained calm and composed, his gaze sweeping over every aspect of the scene, more like a commander-in-chief overseeing the first large-scale coordinated operation of his own industrial system.

"Havoc in Heaven, Day Seven, Scene Twelve, Shot Three, Action!"

The clapperboard rang.

As the drums and music began (added later), the actors playing the monkey band energetically imitated striking stone chimes and playing bone flutes.

Led by the martial arts troupe of the Yuan Family Troupe, the monkeys carried a "feast" made of fruit and spring water (props), frolicking, tumbling, and leaping about, creating a lively yet orderly scene.

Liu Xiao Ling Tong leaped onto the stone platform, took the "immortal peach" offered by the "little monkey," took a bite, and then enthusiastically joined the monkeys in their dance, perfectly showcasing Sun Wukong's joy, unruliness, and innate leadership.

"Cut!" Xu Ke stared at the monitor playback, frowning slightly. "The one in the third row on the left has a blunder; its eyes are looking at the camera. Props team, check the pomegranates in the foreground of camera position two; the color is too bright, make them look aged. Monkey group B's movements are a bit more relaxed; this is a banquet, not training."

The order was executed swiftly. Adjustments, retakes. This was repeated three times before Xu Ke nodded in satisfaction and looked at Wang Sheng.

Wang Sheng nodded in approval: "The atmosphere is right, capturing both Sun Wukong's 'monkey nature' and 'kingly aura.' The realism of the physical scene is the cornerstone of the later CG, and we've done a great job with that."

This is the concrete manifestation of the "industrialization of Chinese cinema" that Wang Sheng has been vigorously promoting: it is no longer a workshop-style operation based on experience and intuition, but a standardized process, a professional division of labor, refined management, and technology-driven solutions.

The post-production team supporting the base has already moved in to process the data collected on-site in real time, preparing for subsequent visual effects.

The morning's filming came to an end, and the crew took a short break.

Just then, Wang Sheng's assistant strode over with a satellite phone and whispered, "Chairman Wang, Director Zhao Jingsong has sent word from Los Angeles that the detailed box office figures for 'Kung Fu Hustle' in its first month in North America are out."

Wang Sheng took the phone and walked to a relatively quiet corner.

On the other end of the phone, Zhao Jingsong's voice was filled with barely suppressed excitement: "Chairman Wang, the final box office statistics for the first month are $9344 million! Far exceeding New Line's initial expectation of $6000 million! Moreover, the momentum is strong, the theater occupancy rate remains firm, and it has been confirmed that it will be transferred to a long-term run."

Kevin Brown just called me personally and said they are confident that the final box office will exceed 1.2 million, and may even aim for 1.5 million!
This is absolutely Stephen Chow's most successful directorial work, and a new peak for Chinese-language films in the North American market!

Wang Sheng wasn't too surprised when he heard the number.

This result was within his expectations. With the audience base of "nonsensical comedy + real kung fu" established in North America by his previous work "Shaolin Soccer", coupled with New Line Cinema's spare no effort in publicity and distribution - from large-scale release to targeted media review guidance, and Stephen Chow's more mature balance between authorial expression and commercial elements after being tempered by "Shaolin Soccer", the success of "Kung Fu" was almost a natural outcome.

I just hung up the phone.

"Brother Sheng!" Stephen Chow greeted him with a smile, his tone familiar yet respectful. "Congratulations! Kung Fu Hustle is a huge hit in North America, I heard the news too!"

"Congratulations, Xingxing. You deserve a lot of credit for this achievement." Wang Sheng shook hands with him. "What brings you to this remote mountain village? Aren't you preparing for a new project in Hong Kong?"

Stephen Chow smiled a little embarrassedly: "New project... I'm still thinking about it slowly, no rush. I heard you guys are making a big splash here, so I couldn't resist coming to learn from you."

He looked around the vast and well-organized film studio, his eyes revealing amazement and a touch of nostalgia. "Seeing you filming 'The Monkey King' reminds me of when we were filming 'A Chinese Odyssey'..."

His words carried a hint of emotion.

The box office failure of "A Chinese Odyssey" almost bankrupted him, but the deeply affectionate and postmodern deconstructionist Sun Wukong in the film became a classic in the hearts of countless movie fans.

He has always held a special affection for the Journey to the West theme.

“This is different.” Stephen Chow pointed to the set and the busy crowd. “The scale, the technology, and this… industrial feel are things we never dared to imagine back then. This is a true grand production that can embody the spirit of our Eastern mythology.”

Wang Sheng patted him on the shoulder: "Times are progressing, and the film industry must keep up. So, since you're already here, how about a cameo role? My version of 'Havoc in Heaven' is planned to gather a hundred stars to create a true 'divine cast'."

Upon hearing this, Stephen Chow's eyes lit up instead of declining: "Really? Is there a role that suits me? I don't even need any lines!"

At this moment, Xu Ke spoke up, "I've already reserved one for you. How about the Dragon King of the East Sea? It has a touch of comedy, but not too much. It's just what I need for your 'deadpan comedian' style."

"The Dragon King of the East Sea? Great, great!" Stephen Chow was very excited and almost immediately wanted to try on the makeup.

In fact, the "Havoc in Heaven" project, controlled by Wang Sheng, has long been a top-tier resource that countless artists in the industry are eager to participate in.

From the main character to the little fairy with only a few lines, every role has been carefully considered.

Li Xiaoran's portrayal of Guanyin is gentle and extraordinary; Wu Gang's Jade Emperor is majestic yet helpless; Liu Xun's Laozi is ethereal and humorous... and countless well-known actors, even if they only have one scene, are willing to come and "gild" themselves or repay Wang Sheng's favor.

Stephen Chow's voluntary arrival and being "conscripted" is just the tip of the iceberg.

Wang Sheng's management of the production crew also reflects his forward-thinking approach.

Instead of adopting a completely closed and strictly guarded strategy, he had Shengying's public relations department establish communication channels with major media outlets and implement a "media visit lottery system".

Every day after work, one or more lucky media outlets would conduct limited interviews and filming of the actors or main cast members in an area and time designated by the production crew.

This satisfied the curiosity of the media and the public about this epic production, while also generating buzz and discussion before the film's release, significantly reducing marketing and distribution costs.

Of course, the core plot, key character designs, and special effects details remain strictly confidential, maintaining the film's mystique and the ultimate viewing experience's impact.

……

Time flies, and the days on set pass quickly amidst the intense yet orderly filming.

Before we knew it, it was early June 2004.

The summer heat in Huairou is already intense, and the filming of "Havoc in Heaven" has entered its mid-to-late stages.

With most of the live-action scenes completed, the production team began to shift its focus to the grand scenes of Heaven and Hell, which require more green screen and post-production special effects.

Meanwhile, across the Pacific, another Hollywood project, controlled behind the scenes by Wang Sheng and deeply involved in Shengying Media, has entered its final sprint.

The Twilight series, scheduled for a global simultaneous release on July 9, has officially launched its intensive pre-release promotional period.

Produced by New Line Cinema and Warner Bros., a series of meticulously crafted trailers, posters, and viral videos began to sweep across major media platforms worldwide.

The trailer, with its gloomy and damp town of Forks, pale and handsome vampire family, tense relationship with the werewolf pack, and forbidden yet intense love between Bella and Edward, quickly captured the attention of young viewers, especially teenagers.

Fan Xiaopang, who plays the female lead Bella, stands out with her Eastern face among the uniform Hollywood teen movie heroines, sparking widespread discussion.

Her performance in the trailer perfectly captures the image of a sensitive, stubborn girl caught in an emotional vortex, making it highly anticipated.

New Line Cinema spared no expense in purchasing giant billboards in global landmarks such as Times Square in New York, Leicester Square in London, and Shibuya in Tokyo.

Online, they partnered with emerging social networking platforms like MySpace to launch activities such as character voting and early access to the theme song, creating a strong buzz even before the film's release.

(End of this chapter)