Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 578, Section 576: The Two Zhangs Break Up

The hands of time quietly moved into the late autumn of 2004.

The sky over Beijing seemed exceptionally high and distant, with wisps of thin clouds occasionally drifting across the azure backdrop, and the air was filled with a dry and chilly atmosphere.

Located on the East Third Ring Road, the Jingxin Building stands like a silent giant on the edge of the increasingly bustling CBD, overlooking the vibrant energy of this ancient capital as it strides into the new century.

Inside the building, the most well-known building is undoubtedly Shengying Media Group, which occupies several floors.

This place has become a symbol of the rising power of China's cultural industry, replacing the former Beijing Film Studio as a sacred place in the hearts of countless people in the industry.

Within the group, all business operations function like precise gears, operating efficiently within the strategic framework established by Wang Sheng.

In addition to the highly anticipated post-production retouching of "Havoc in Heaven" and the preparation for the China-US International Film Festival, another project that also carries the weight of the times and the expectations of the people is also progressing in an orderly manner—the biographical film "A Star Is Born," based on the legendary gold medal-winning story of sprinter Liu Xiang at the Athens Olympics.

The project was entirely directed by Chen Guoxing.

Wang Sheng did not interfere much in this matter.

Wang Sheng was confident in Chen Guoxing's abilities.

This director, who once directed "The Birth of a Warrior", not only has the courage to handle grand themes, but also has a unique vision and profound skills in biographical films.

In 1999, the film "The Birth of a Warrior," which embodied national pride, saw its box office soar thanks to the marketing efforts orchestrated by Wang Sheng. It eventually broke the 100 million yuan mark, becoming the first domestic film to gross over 100 million yuan since the advent of clear market statistics, thus marking the last glorious moment for the Beijing Film Studio before its restructuring.

It was from then on that the Beijing Film Studio officially entered history, was restructured into the Beijing Film Production Company, and merged into the China Film Group. Sheng Ying Media, which had grown stronger, also moved its headquarters from the factory area full of memories to the more modern Jingxin Building, and started a new chapter.

Chen Guoxing excels at portraying individual destinies amidst the torrents of history and is adept at uncovering the complex and resilient inner strength of his characters.

His previous works, such as "Kong Fansen," have demonstrated his ability to portray real people with great subtlety.

Having him helm the Liu Xiang biopic is an excellent choice, both for elevating Liu Xiang's personal image and for interpreting the fighting spirit and national confidence that the film aims to convey.

The project preparation team is located on the eleventh floor of Shengying Media Building.

Inside the meeting room, the walls were covered with photos of Liu Xiang from his youth to his peak in Athens, competition data charts, technical analysis tables, and information on several shortlisted candidates.

Wearing glasses, Chen Guoxing was working with the scriptwriting team, sports consultant, and casting director, repeatedly refining the script details and casting choices.

"The core of Liu Xiang's story lies in 'breakthrough'," Chen Guoxing said, pointing to the keywords written on the whiteboard. "Breaking through the limits of the body, breaking through the bottleneck of technology, and more importantly, breaking through the 'impossible' mindset that has long shrouded the Asian race in sprinting. Our script, every scene, every character arc, must be built around this core."

One screenwriter suggested, "Director Chen, regarding the scenes depicting his childhood, should we emphasize the portrayal of his family environment? For example, his parents' support?"

Chen Guoxing pondered for a moment, then shook his head: "It can be mentioned, but it's not advisable to overemphasize the hardships or deliberately sensationalize the story. Liu Xiang's success is mainly due to his personal talent and hard work. His family is a warm harbor, but not the core of the dramatic conflict. We need to avoid falling into the cliché narrative of 'the whole family going into debt to support his training.' His family is ordinary, but also strong. This kind of ordinary support is precisely a microcosm of the broader Chinese family, and it resonates more deeply."

He turned to the casting director: "How's the audition going?"

"The response has been overwhelming." The casting director handed over a stack of documents. "We received over three thousand resumes and audition videos. We've shortlisted twenty people for the next round of physical fitness tests and acting workshops. A similar appearance and physique are basic requirements, but more importantly, it's that 'spirit' in their eyes—that fierce determination and focus that refuses to give up."

Chen Guoxing carefully flipped through the documents, occasionally pausing for a moment on a particular photograph.

"Inform them that the next round of testing will include an assessment of their ability to imitate Liu Xiang's hurdling technique on the spot. They don't need to actually be able to hurdle, but they need to be able to demonstrate physical coordination and that 'style'. What we're looking for isn't just a simple imitator, but an actor who can understand and embody the 'Liu Xiang spirit'."

His discerning eye and high standards for actors are well-known in the industry.

The casting for "The Birth of a Warrior" was also a process that defied public opinion, ultimately resulting in classic screen images.

Everyone was quite convinced by his judgment.

Under Chen Guoxing's leadership, the entire project team had clear goals and made steady progress.

Wang Sheng would occasionally listen to progress reports, but he would only affirm the general direction and would not interfere with the specific creative process.

He believes that trusting professionals to do professional work is the most efficient approach.

……

Wang Sheng devoted more of his energy to the first Sino-American International Film Festival, which was about to ignite the war on the other side of the ocean.

The film festival's submission period ended last month.

The number of films submitted from around the world, especially from China and the United States, exceeded expectations, reaching nearly two hundred.

This is undoubtedly due to the appeal of partners such as New Line Cinema and Disney in the North American market, as well as the full support from Sheng Ying Media and several major domestic film groups in China.

Currently, a judging panel led by Richard Walter, and composed of Mark Johnson, Joan Chen, Charles Teson, and Zhang Yimou, is secretly conducting an intense selection process.

All judging processes are conducted under strict confidentiality agreements to ensure the fairness and suspense of each award in the "Golden Angel Award".

The film festival was scheduled for November 14, 2004, which was the second Sunday of November.

This date was not chosen arbitrarily, but rather determined by Wang Sheng and his team after careful consideration. The aim was to avoid the absolute peak of the North American awards season while allowing some time for warm-up for the subsequent Oscar campaign.

It was decided that the festival would be held annually on the second Sunday of November, with the venue alternating between China and the United States. This year it was held in Los Angeles, USA, and next year it will be held in China. To promote the inaugural film festival and enhance its global profile, the organizing committee arranged a series of media pre-event activities.

As a Chinese face on the judging panel who has garnered international attention, Zhang Yimou naturally became one of the focuses of media attention.

In a conference room at a hotel in Beverly Hills, Los Angeles, Zhang Yimou gave an exclusive interview to the entertainment section of the Los Angeles Times.

He wore a well-fitting Chinese-style stand-up collar shirt, and his face looked slightly more weathered than a few years ago, but his eyes still shone with a sharp light.

The reporter's questions inevitably touched on the most sought-after figures in the current Chinese film market.

"Director Zhang, as we all know, Mr. Wang Sheng is an important initiator and core promoter of this film festival. As a member of the jury, how would you evaluate him personally and his impact on the Chinese film industry?"

Upon hearing this, Zhang Yimou remained silent for a moment, his face revealing little emotion.

He adjusted his posture, faced the camera, and spoke in a calm yet solemn tone: "Mr. Wang Sheng... I believe he is a choice of an era."

He paused, seemingly choosing his words carefully, before continuing, "His understanding of the film industry transcends mere creative work, reaching the level of strategic planning. He is not only an extremely successful commercial director and producer, but also an outstanding industry builder."

From the rise of Shengying Media to the establishment of China Film Shengshi Cinema Circuit, and now the creation of the Sino-American Film Festival, everything he has done has profoundly changed the ecology and landscape of Chinese cinema.

“I personally admire him very much.” Zhang Yi’s voice was not loud, but every word was clearly audible. “I admire his vision, his courage, and even more so his strong ability to put his dreams into practice.”

Many of the things he did were things that many filmmakers have thought about but dared not do, or were unable to do.

He opened a new window for Chinese cinema, allowing more people to see different possibilities, and also making us 'old guys' feel both pressure and motivation.

This assessment quickly spread within the industry, thanks to the Los Angeles Times and other domestic media outlets that reprinted it.

"Zhang Yimou publicly expressed his 'admiration' for Wang Sheng!"

"The former Imperial Advisor bows his head? Zhang Yimou praises the head of Shengying Sect!"

"The winds have shifted! Zhang Yimou has extended an olive branch to Wang Sheng?"

Various clickbait articles quickly flooded the internet and print media.

Industry insiders clearly understood the message behind Zhang Yimou's words—it was practically an open "pledge of allegiance."

Zhang Yimou, who was once arrogant and thought winning the Three Great European Film Awards was as easy as drinking water, has clearly come to terms with a reality after the disastrous defeats of "Hero" against "Night at the Museum" and "Brotherhood of Blades," and the subsequent lukewarm reception and market failures of several art-house films he collaborated on with Zhang Weiping.

In today's market, dominated by capital, channels, and new rules, going it alone or sticking to past successful models is no longer sustainable.

The Sheng Ying Group's aircraft carrier has become an entity that cannot be ignored, or even bypassed.

The disastrous failure of "Hero" was not only a box office failure, but also a major blow to confidence.

Zhang Weiping, within New Pictures Film Studio, was already overwhelmed with problems, including the withdrawal of "Hero" from theaters, huge losses, and the difficulty in advancing subsequent projects.

He had tried to support Zhang Yimou's transformation back to art films and to regain his reputation in the awards, but the lukewarm market response and the ubiquitous influence of Sheng Ying Group's distribution channels made him feel powerless to reverse the situation.

When Zhang Yimou uttered the word "admiration" in Los Angeles, the news reached Zhang Weiping's ears, and the last bit of ambition of this once ambitious producer seemed to have been drained away.

He realized that his path of being tied to Zhang Yimou had come to an end under the current rules of the game set by Wang Sheng.

A heated argument was inevitable.

"You're practically begging him for mercy!" Zhang Weiping roared on the phone, his voice filled with the anger of betrayal and the frustration of business failure.

Zhang Yimou, on the other end of the phone, spoke with unusual calm: "Wei Ping, face reality. This era has changed. What we need is survival, and the opportunity to continue making movies."

"Can't we make movies without Wang Sheng?"

"We can film it. But what kind of film will it be? How many people will see it? Weiping, we tried it, and what was the result?"

Zhang Yimou's voice carried a hint of weariness, but also a hint of determination: "I don't want my films to end up gathering dust in a warehouse, or only being screened in obscure sections of a few film festivals. Films are ultimately meant to be seen by audiences."

The call ended unhappily.

Soon after, news spread within the industry that Zhang Weiping and Zhang Yimou had officially parted ways.

Disheartened, Zhang Weiping gradually withdrew from the front lines of film production and turned his energy to investing in other fields.

The two, once hailed as a "golden duo," ultimately parted ways due to the harsh realities and changing times.

Zhang Yimou's expression of "admiration" was widely interpreted in the industry as a clear signal that he was moving closer to Wang Sheng and Shengying Group.

Many are watching to see what role this once iconic figure in Chinese cinema will play under the new order of the Sheng Ying Group.

(End of this chapter)