Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 565, Section 563: Be careful.

Speaking of the China-US International Film Festival.

"Shall we find a quiet place to talk?"

Han Sanping gestured with his eyes towards the area outside the theater.

Wang Sheng nodded, told Xu Ke and the others, "Thank you for your hard work. We'll discuss the specific revisions at tomorrow's meeting," and then walked out of the screening room with Han Sanping.

The cinema manager was already waiting outside the door. Upon seeing this, he cleverly led the two to his own office next door.

The office is small and simply furnished, but it is quiet and soundproof.

The manager diligently brewed two cups of tea, then quietly slipped out, gently closing the door behind him.

Han Sanping spoke first, his tone tinged with emotion: "It seems you've really cracked a nut like 'Havoc in Heaven'. The momentum you displayed just now was something I've never seen before in Chinese films."

He paused, then looked at Wang Sheng with a sharp gaze. "We have the film now. The next step is to find a stage for it to be shown. How are the preparations going in Los Angeles?"

He was naturally asking about the first China-US International Film Festival, which was about to begin.

"All is ready except for the opportunity."

Wang Sheng said calmly, "With Zhao Jingsong's team and Sheng Ying's capital overseeing Su Yantao's side, the specific execution is proceeding step by step. The foundation's structure, board members, and core component setup are all operating stably within the framework that Wang Sheng finalized in Los Angeles."

The venues are the AMC Theatres complex in Century City, Los Angeles, and Royce Auditorium at UCLA, which are large enough to accommodate the opening, closing, and major screening events.

"Oh? It seems your 'money power' and 'network of connections' are working together effectively." Han Sanping nodded slightly, unsurprised by Wang Sheng's efficient operations overseas.

Han Sanping then asked, "Is the opening film decided?"

"It's decided, we'll use 'Havoc in Heaven,' which we just watched."

Han Sanping clapped his hands and laughed, "Good! That's how it should be! Let's use our best Eastern fantasy epic to smash open the door to Hollywood and let those foreigners see what the industrial level and cultural heritage of Chinese films are like! This is more effective than any propaganda film!"

Choosing "Havoc in Heaven" as the opening film is a highly symbolic decision.

As a "pure" domestic blockbuster rooted in traditional Chinese culture, absolutely led by the Chinese side, and showcasing the highest production level currently available.

Using it to kick off the film festival sends a clear message: We're here, with our own stories and strength.

"What about the closing film?" Han Sanping pressed.

"The tentative choice is an Oscar contender, the independent film 'Sideways,' submitted by New Line Cinema," Wang Sheng replied. "Directed by Alexander Payne, the film is of guaranteed quality, and its style contrasts sharply with the opening film, reflecting the diversity and artistic pursuit of our festival's selection."

The interplay of openness and closure, East and West, showcases both cultural confidence and an inclusive attitude.

Han Sanping couldn't find fault with this arrangement.

"In the competition section, can the judging panel for the 'Golden Angel Award' hold their own?" This is another core concern for Han Sanping.

The authority of a film festival largely depends on the weight of its jury.

Wang Sheng thought about the report he had read a few days ago: "Richard Walter (Dean of the UCLA School of Film and Drama) chairs the Academic Committee, and he also serves as the chairman of the Jury."

Members include Mark Johnson (renowned producer), Joan Chen (international film star), and we have also invited Charles Tesson, former editor-in-chief of the French film magazine Cahiers du Cinéma, and Zhang Yimou, a well-known Chinese director.

This lineup, encompassing academic, industry, artistic, and international perspectives, possesses the professionalism and credibility to establish a firm foothold in the inaugural event. "Zhang Yimou?"

Han Sanping was somewhat puzzled.

Wang Sheng understood what Han Sanping was wondering: "Teacher, Director Zhang and I have had some disagreements, but that doesn't prevent us from being friends."

He continued, "Teacher, our short-term goal in organizing this film festival is to provide a high-profile and high-profile overseas premiere platform and trading market for films like 'Havoc in Heaven,' as well as for future high-quality domestic content from Sheng Ying Group, China Film Group, and even more. We aim to bypass the biases and barriers that may exist in traditional Western film festivals and gain a certain degree of autonomy in promotion."

Han Sanping wholeheartedly agreed.

In the past, Chinese films "went global" mostly by relying on the three major European film festivals, Cannes, Berlin, and Venice, or North American film festivals such as Toronto and Sundance, and the power of discourse was largely in the hands of others.

Having a platform that is deeply dominated by our own side is of great significance.

"In the medium term," Wang Sheng continued, "the film festival should become a hub for talent, technology, and information. Through high-level forums, masterclasses, and film markets, it should systematically 'bring in' Hollywood's industrial experience, cutting-edge technology, and production management."

At the same time, we will leverage this platform to discover and cultivate outstanding film talents from overseas Chinese communities and even across Asia, building our own overseas talent pool.

Han Sanping nodded, agreeing that this aligns with the national strategy of combining "bringing in" and "going out" culture, and also addresses the pain points of upgrading China's domestic film industry.

“And in the long run,” Wang Sheng said, his voice not loud, but with an undeniable force, “the China-US International Film Festival must become a brand, one of the standard setters in the context of globalization, capable of defining and exporting the aesthetics and commercial value of ‘new Chinese-language cinema’ and ‘new Asian cinema’.”

It should not only be a link between China and the United States, but also an important node connecting Asia and North America, and even influencing the global film landscape.

When the six major Hollywood studios bid fiercely for the North American distribution rights to Chinese blockbusters premiering at our film festival, and when top directors from across Asia take pride in receiving the 'Golden Angel Award,' then our bridgehead will truly be firmly established.

The office fell silent.

Han Sanping remained silent for a long time.

Wang Sheng's plan, with its grand scale and far-reaching vision, once again exceeded his expectations.

This is no longer just about organizing a film festival; it's about playing a grand game that will determine the future global standing of Chinese-language films and even Asian cinema.

"Quite ambitious." After a long pause, Han Sanping finally uttered a sentence, his tone complex, containing both amazement and solemnity. "This path will not be easy. Hollywood has been entrenched for a century, and the European film festival system is deeply rooted. If you want to snatch food from the tiger's mouth, or even establish your own independent territory, the resistance you will encounter will be beyond your imagination."

"Therefore, we need a systematic approach, like a 'regular army,'" Wang Sheng interjected, his eyes sharp. "It's not about going it alone, nor is it a flash in the pan. It's about relying on the continuously growing domestic market size and capital strength, backed by the industrial chains of China Film Group and Shengyi Film Group, and utilizing the film festival platform for long-term, stable, and systematic investment and operation."

Through each successful event, each successful project collaboration, and each increasing influence, we will solidify this foundation. If one year isn't enough, we'll try two; if two years aren't enough, we'll try five, ten. As long as the overall direction is correct and we continue to invest, this bridgehead will surely take root on the Hollywood coastline.

He paused, then added, "Moreover, we are not fighting alone. The top leadership in China has designated it as a key cultural project, providing policy support and resource coordination."

Partners like New Line and Disney will also provide support to some extent, based on market interests. The key lies in whether we can operate this platform effectively and demonstrate its irreplaceable value.

Han Sanping fully understood Wang Sheng's entire strategic plan.

This film festival is a strategic foothold that Wang Sheng has carefully crafted overseas for his vast film and television empire and for the future of Chinese cinema.

It serves as a showcase, a trading platform, a talent magnet, and a battleground for discourse power.

Thinking of this, as a teacher, Han Sanping could only once again earnestly remind him: "Be careful..."

(End of this chapter)