Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 585-583: Global Premiere

Los Angeles time, November 15, 2004, 9:30 AM.

At the entrance of the Kodak Theater.

Unlike the solemn and official atmosphere of the opening ceremony the night before, which was dominated by industry insiders, today's sunshine has injected more vitality and anticipation into this star-studded road.

Along the roadside, in addition to the media reporters who were on high alert, there were many more movie fans holding posters and craning their necks in anticipation, many of whom had Asian features.

Today marks the first day of screenings in the main competition section of the inaugural SAIFF (Chinese American International Film Festival), and kicking it off is the global premiere of "Havoc in Heaven," an epic fantasy film that embodies the ambitions of the Chinese film industry. Directed by Wang Sheng, chairman of the organizing committee, and Xu Ke, the film is a masterpiece of Eastern fantasy.

At 10:00 a.m. sharp, the entrance to the Kodak Theater was already bustling with people.

The first to walk the red carpet were director Tsui Hark, art director Huo Tingxiao, and other key behind-the-scenes creators, including the executive director.

Wearing a black Zhongshan suit, Tsui Hark looked energetic and spoke eloquently to the camera, explaining how the film combines traditional Chinese mythology with cutting-edge visual effects technology to create a familiar yet imaginative Eastern mythological world.

Following that, the film's main cast members appeared one by one.

When Liu Xiao Ling Tong, who plays Sun Wukong, appeared in a dark purple robe embroidered with dark gold cloud patterns, enthusiastic cheers and applause erupted on both sides of the red carpet, interspersed with excited shouts from many overseas Chinese: "Sun Wukong! Monkey King!"

With his signature lively smile, Liu Xiao Ling Tong sometimes clasped his hands in a salute, and sometimes made a few classic Monkey King gestures, instantly igniting the atmosphere on site. Countless cameras flashed wildly, recording this classic image that transcends cultural boundaries.

The veteran actor who played the Jade Emperor, as well as the actors who played important roles such as Nezha and Erlang Shen, also passed by. Their solemn or heroic appearances together formed the magnificent "divine" lineup of "Havoc in Heaven".

It is worth noting that Stephen Chow, who made a cameo appearance as the "Dragon King of the East Sea" in the film, also made a surprise appearance as a special guest.

He was dressed in a relatively casual suit, but he was still spotted by sharp-eyed media and fans, causing another small climax.

He interacted with the host and fans in Mandarin and English with a Cantonese accent, humorously saying that he was there to "learn from the real Monkey King" and praising "Havoc in Heaven" as the "most powerful and exciting" Chinese special effects film he had ever seen.

……

At 9:38 a.m., all eyes were on the audience.

A black Rolls-Royce Phantom slowly came to a stop at the end of the red carpet.

The car door opened, and Wang Sheng got out first. Today he chose a Tom Ford dark gray plaid suit, without a tie, and the shirt collar was slightly open, making him look both formal and casual.

He didn't linger, but instead turned around gentlemanly and reached his hand into the car.

The next moment, a slender hand wearing a royal blue velvet glove gently rested on his palm.

Fan Xiaopang made an elegant appearance in a royal blue floor-length gown, custom-designed by a domestic designer and inspired by the flying apsaras of Dunhuang.

Her skirt was adorned with tiny crystals that shimmered with each step in the bright Los Angeles sunlight, as if she were draped in a galaxy.

She wore a classic Cartier Panthère diamond necklace around her neck, which complemented the matching earrings swaying at her ears, exuding elegance and confidence.

This is the first time Wang Sheng has publicly appeared with a female companion at such an important international occasion.

Instantly, all the media cameras were drawn to the couple as if by a magnet.

The sound of camera shutters was so dense, like a sudden downpour, that it almost drowned out the host's introduction.

"Director Wang! Look this way!"

"Mr. Wang, what are your expectations for the box office performance of 'Havoc in Heaven'?"

"Miss Fan, how do you feel about attending as Director Wang's date this time?"

With a smile on his face, Wang Sheng gently supported Fan Xiaopang's waist with one hand, calmly responding to the media's shouts, occasionally pausing to give the photographers enough time to capture the scene.

He answered a few short questions in fluent English: “Havoc in Heaven is a work of our entire team’s hard work, and I believe it can bring a different audio-visual experience to audiences around the world.”

As for his relationship with Fan Xiaopang, he skillfully avoided the question, steer the conversation towards the film itself. Fan Xiaopang, on the other hand, maintained a polite and generous smile, nestled close to Wang Sheng, and occasionally greeted the domestic media in Chinese. Her demeanor was impeccable, showcasing the profound knowledge and international flair of a leading lady at Shengying Film Studio.

Their joint appearance undoubtedly became one of the most eye-catching highlights since the opening of this film festival, and also demonstrated the confidence and style of Chinese filmmakers to the world.

By 10:10 a.m., all the main creative team members had entered the venue, and the Kodak Theater was packed to capacity.

The main hall, which can accommodate 3,500 people, was almost full.

In addition to invited industry professionals, media reporters, and lucky audience members, Wang Sheng also saw many familiar faces: Kevin Brown and Robert White from New Line Cinema, Robert Geller and Sarah Miller from Disney, jury members Mark Johnson and Joan Chen, and Alexander Payne, who was nominated for "Sideways." Quentin Tarantino, whom he had just met the night before, was also wearing his signature sunglasses and sitting in the middle row, clearly quite interested in this epic Eastern fantasy film.

As the lights dimmed, the noisy discussions at the scene subsided.

The giant screen lit up.

The film officially begins.

The opening scene is a grand scene of the beginning of chaos, when heaven and earth gave birth to immortal stones.

The panoramic view of the Heavenly Court, constructed using physical miniature models and digital painting technology, was presented to an international audience for the first time. Surrounded by clouds and mist, with majestic palaces, thousands of rays of light, and auspicious colors, it was full of the unique magnificence and mystery of Eastern mythology.

The sheer grandeur and exquisite detail of this opening shot alone drew a murmur of amazement from the audience.

As the plot unfolds, classic scenes such as the birth of the stone monkey, borrowing treasures from the Dragon Palace, settling accounts in the underworld, being appointed as the Keeper of the Heavenly Horses, and causing havoc at the Peach Banquet are reinterpreted in a visually stunning way.

In particular, the "Battle of Heaven" segment utilizes a CG group animation system independently developed by Shengying Media in collaboration with several domestic technical teams. Thousands of heavenly soldiers and generals lay down a net to engage in a fierce battle with Sun Wukong, who wields the golden cudgel.

The camera seamlessly switches between macro-level military battles and micro-level martial arts duels, and the action design retains the charm of Peking Opera martial arts while incorporating the fast pace and power of modern films.

The golden cudgel transformed into a thousand rays of golden light, sweeping across the army. The special effects scenes were dense and stunning, in no way inferior to Hollywood A-list productions of the same period.

The film's color management is highly distinctive, boldly using highly saturated shades of red, gold, blue, and purple to recreate the charm of traditional Chinese Taoist murals and meticulous brushwork paintings, creating a dreamlike feeling that is both classical and surreal.

The lighting and shadow effects have been meticulously rendered, with both the holy radiance of the Heavenly Court and the dark and eerie atmosphere of the East Sea Dragon Palace being clearly layered and full of texture.

Liu Xiao Ling Tong's portrayal of Sun Wukong is undoubtedly the soul of the entire film.

He not only perfectly replicated the classic appearance and spirit of the Monkey King from the TV series, but also, with the help of film technology, vividly portrayed the Monkey King's "spirituality," "monkey nature," and "divinity." Whether it was the ecstatic joy of first obtaining the golden cudgel, the indignation and defiance in the face of oppression from the Heavenly Court, or the unruly and willful behavior after getting drunk, he depicted them all with remarkable depth.

Many overseas viewers may not understand the cultural connotations behind the story, but they can still be moved by this character who is full of vitality and rebellious spirit.

During the nearly two-hour screening, the audience was completely immersed in this bizarre and fantastical world of Eastern mythology.

Sometimes I would chuckle knowingly at Sun Wukong's cleverness and cunning, sometimes I would hold my breath at the grand and intense battle scenes, and sometimes I would be shocked by the majesty of the Heavenly Court and the coldness of its rules.

When Sun Wukong, despite his great powers, was ultimately unable to escape the Buddha's palm and was suppressed under the Five Elements Mountain at the end of the film, the tragic sense of individual resistance against fate and order deeply moved every audience member present.

As the end credits rolled, accompanied by a powerful and distinctive symphony, the theater fell into a brief silence.

Immediately, thunderous applause erupted, sweeping across the entire Kodak Theatre like a tidal wave and lasting for a long time.

As the lights came on, Wang Sheng, Xu Ke, Liu Xiao Ling Tong, and the entire creative team returned to the stage amidst applause to greet the audience.

In the audience, Quentin Tarantino clapped enthusiastically and exclaimed to Mark Johnson beside him, "Unbelievable! The visual style is so unique! The way the action choreography and special effects are integrated is completely different from the logic of Hollywood, but it's full of power and beauty! This king is a genius!"

A reporter from The Hollywood Reporter quickly jotted down in his notebook: "The Monkey King—a truly Chinese visual effects blockbuster. It is not a simple imitation of the Hollywood model, but rather rooted in its own rich cultural soil, telling a pure Eastern fantasy story with international-level production standards."

Its visual spectacle, art direction, and action concepts are all highly innovative, signifying that the Chinese film industry has achieved the technical prowess to compete with world-class teams. SAIFF's choice of it as its premiere film undoubtedly sends a strong signal to the world: Chinese cinema has arrived!

A film critic from the French film magazine Cahiers du Cinéma pondered: "The film's technical achievements are undeniable, but what interests me more is its inner spiritual core."

The unruly monkey king, who challenged all authority, was ultimately suppressed by order. This ending might be seen as a tragedy in Western narratives, but in Eastern philosophy, it seems to contain a more complex reflection on growth, rules, and consequences.

(End of this chapter)