Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 595, Section 593: New Year, New Look
January 1, 2005, Saturday, New Year's Day.

At seven o'clock in the morning, the first issue of the new year was already on display at newsstands throughout Beijing.

The Beijing Youth Daily published a preview on the front page of its culture and entertainment section: "Tonight at 9 pm, the Movie Channel will have an exclusive interview with Wang Sheng and Xu Ke: discussing the era of 500 million Chinese films."

The subtitle reads: "The Monkey King's box office surpasses 500 million yuan; the two behind-the-scenes forces appear together on television for the first time to discuss the path of industrialization and audience sentiment."

The report did not reveal the specific content of the program, but instead used a question-and-answer format to pique the reader's interest:
"When a movie's box office surpasses 500 million, what does it mean? Is it the maturity of the Chinese film market, or a change in audience tastes? Tonight at 9 pm, on the Movie Channel's 'China Movie Report' New Year special program, Sheng Ying Media Chairman Wang Sheng and director Xu Ke will jointly interpret this '500 million era' on television for the first time."

"It is understood that the program will cover topics such as the construction of China's film industrialization system, the independent research and development of special effects technology, and the integration of traditional culture and modern films. Will Wang Sheng respond to the recent academic controversy about 'film industrialization'? How will Xu Ke tell the story behind the filming of 'Havoc in Heaven'? All the answers will be revealed tonight."

The Beijing News' preview was even more ingenious: "From 2.5 Million to 5 Million: What Has Changed in Chinese Cinema in Three Years?" The article didn't directly report the program's content, but instead created suspense.
In 2002, "Hero" grossed 2.5 million yuan, becoming a milestone in the market-oriented reform of the Chinese film industry. In 2004, "The Monkey King" doubled that figure.

What changes have occurred in the Chinese film market over the past three years? Tonight, key figures behind two films—Wang Sheng and Zhang Yimou—may not appear on stage together, but their philosophies will engage in a dialogue across time and space during a special program on the movie channel.

The article also quoted industry insiders' speculation: "According to sources close to the production team, Wang Sheng repeatedly emphasized during the recording process that 'the audience is the foundation of the film industry,' which is consistent with his consistent concept of 'audience sovereignty.' Director Tsui Hark may reveal for the first time in detail the three-year preparation process of 'Havoc in Heaven.'"

In the booming online world, major portal websites have also prominently displayed program previews on their homepages.

Sohu Entertainment's banner ad was particularly eye-catching: "Turn on CCTV-6 tonight at 9 PM to hear Wang Sheng tell the story behind the 500 million yuan box office." Clicking on it led to a special page with a countdown timer and a rotating display of exciting stills from "Havoc in Heaven."

Sina.com featured a headline in its entertainment section: "On the first day of the new year, the Movie Channel presents a major interview. Wang Sheng and Xu Ke, producer and director, commercial and artistic—how will this duo, who created a box office miracle of 500 million yuan, interpret the present and future of Chinese cinema?"

On NetEase's community's film and television section, a moderator pinned a program preview post, and within two hours, it garnered over 500 comments.

"Finally, Wang Sheng is on TV! It's been a long time since his last debate."

"I'm curious to see what he'll say. His recent industry papers have been quite controversial within the field."

"I heard that the show will reveal some previously unseen behind-the-scenes footage of 'Havoc in Heaven' for the first time."

“My parents are planning to watch it tonight. They’re not movie fans, but they said they want to see what this ‘young tycoon’ looks like.”

……

At 10:00 a.m., a detached villa outside the North Fifth Ring Road of Beijing.

This property is one of Wang Sheng's properties, located in a high-end villa area, with a quiet environment and tight security.

The villa features a modern Chinese design with blue tiles and white walls. The courtyard is planted with bamboo and pine trees, making it elegant even in winter.

In the living room, Wang Sheng and Zhang Yi sat facing each other.

Two cups of tea sat on the coffee table, steam rising gently. Sunlight streamed through the floor-to-ceiling windows, casting warm dappled patterns on the solid wood floor.

"Director Zhang, Happy New Year." Wang Sheng raised his glass in greeting.

"Happy New Year, Chairman Wang," Zhang Yimou replied somewhat reservedly.

He was wearing a dark gray Chinese-style coat today, and his hair was neatly combed, but the wrinkles around his eyes and his slightly tired expression revealed the pressure he had been under lately.

After exchanging a few pleasantries and New Year's greetings, the conversation quickly turned to the main topic.

"Director Zhang, have you thought it through?" Wang Sheng put down his teacup and looked at the other person calmly. "What kind of film do you want to make when you come to Shengying?"

Zhang Yi sat up straight: "Chairman Wang, I've made movies my whole life, from 'Red Sorghum' to 'Hero,' from art films to commercial films, I've tried them all. But now I want to make something different—a film that can be remembered in film history, a true blockbuster."

Wang Sheng nodded, signaling him to continue.

“I watched ‘Havoc in Heaven’ and was deeply impressed.” Zhang Yimou said sincerely, “Not because of its special effects or box office performance, but because of its ‘system’—from script development to technology research and development, from filming and production to publicity and distribution, a complete industrial process. This is exactly what I want to learn.”

"So what do you want to film?" Wang Sheng asked.

Zhang Yimou was silent for a few seconds, then slowly uttered four words: "War blockbuster."

Wang Sheng nodded slightly, signaling him to continue.

Zhang Yimou continued to elaborate on his thoughts: "After entering the new century, war films almost disappeared in China. It's not that audiences didn't like them, but that no one dared to make them—they required large investments, had long production cycles, and were high-risk. In addition, with the impact of marketization, everyone went to make urban comedies, period martial arts films, and romance films, and war films became a thankless and difficult genre."

“But I think war films are precisely the genre that best reflects the level of a country’s film industry.” Zhang Yimou became more and more engrossed in his speech. “It requires large-scale scene staging, meticulous historical restoration, complex technical support, and also profound humanistic concern.”

Hollywood has *Saving Private Ryan* and *Pearl Harbor*, the Soviet Union has *War and Peace*, what about China? We have the Korean War, the War of Resistance Against Japan, so many moving and inspiring stories, why can't we make them?

Wang Sheng finally spoke up: "Which period do you want to film?"

"The Korean War." Zhang Yimou answered without hesitation. "This was the first large-scale war after the founding of New China, and it was also the war that established the nation. But for so many years, we only have old movies like 'Heroes and Daughters' and 'Shangganling,' and due to the limitations of the technology at the time, it was difficult to fully show the grandeur and brutality of that war."

He paused, observing Wang Sheng's expression: "I know this subject matter is sensitive, and there are red lines. But I've studied it, and as long as we grasp the right measure, we can completely find a balance between artistic expression and historical truth."

The key is to have a correct historical perspective—not to glorify war, but to show the cruelty of war, the bravery and sacrifice of the Chinese People's Volunteer Army, and the preciousness of peace.

"How much investment is needed?" Wang Sheng asked.

Zhang Yimou cautiously replied, "To make a truly epic blockbuster, it would require at least 200 million RMB. That's just the production cost; marketing and distribution are separate."

"Two hundred million isn't enough," Wang Sheng shook his head.

Zhang Yi was taken aback.

"If you're going to make a film, make it a series."

Wang Sheng's tone became decisive: "The Korean War was not a single battle, but a war that lasted two years and nine months. You could film it from the decision to send troops, to the five campaigns, to positional warfare, to negotiations, to the armistice. This is not a story that can be told in one movie."

He stood up, walked to the window, and looked at the pine trees in the courtyard: "I suggest you make a trilogy, or even a quintet. The first part could be about making the decision to send troops and the first battle, to test the market reaction. If it's successful, then continue filming."

Zhang Yi stood up excitedly: "Chairman Wang, you agree?"

“I agree with this direction,” Wang Sheng turned around, “but there are a few conditions.”

"You say."

“First, the script must be solid.” Wang Sheng walked back to the sofa but did not sit down. “You can find screenwriters from the group’s content department, or you can contact screenwriters from the August First Film Studio and history experts from the Academy of Military Sciences to form a creative team. Don’t rush to write. Do three months of research first, and figure out the historical background, character relationships, and battle details.”

Zhang Yi nodded repeatedly: "That's only right."

“Secondly, the technical preparations must be thorough,” Wang Sheng continued. “War films require a lot of special effects support—explosions, fireworks, battlefield environments, and large-scale extras. Shengying currently has the Zhongbei Sheng Digital Film Base and a self-developed CG group animation system, but that’s not enough. You need to start technical testing a year in advance and establish a dedicated war film special effects team.”

“Third,” Wang Sheng looked into Zhang Yimou’s eyes, “this is not your film alone. You need to learn to work in an industrial way—the storyboard must be detailed down to each frame, the shooting schedule must be precise down to each day, and the budget control must be strict down to each penny. I don’t want to see any delays or overspending.”

Zhang Yi nodded solemnly: "I understand. I will follow Shengying's procedures."

Wang Sheng sat down again, his tone softening: "Director Zhang, I know you're an artist with your own creative habits. But a project of this scale, like a war epic, requires a team and a systematic approach. You need to be mentally prepared—this might be the most arduous creative endeavor of your career."

"I'm not afraid of hard work." Zhang Yimou's eyes shone. "As long as we can make this movie, any price is worth paying."

"it is good."

Wang Sheng: "Then you can start taking action tomorrow. First, report to the content department and build your core team. As for the budget, I will have the finance department approve 20 million for initial R&D expenses—for scriptwriting, historical research, and technical testing. Once the script is finalized, we'll discuss the formal production budget."

Zhang Yi was so excited that he didn't know what to say. He could only stand up and bow deeply: "Thank you, Chairman Wang! I will definitely not let you down!"

Wang Sheng waved his hand: "No need to thank me. If this film is successful, the entire Chinese film industry will benefit. We need to prove that Chinese filmmakers can not only make fantasy blockbusters, but also war epics."

The two discussed some specific details, and after a simple lunch at noon, Zhang Yimou took his leave.

……

It was 8:50 p.m.

Families across the country, and millions of viewers, have already gathered in front of their television sets.

Viewers who witnessed that televised debate still remember how Wang Sheng, facing three opponents on camera, won the debate about the future of film with logic and confidence.

Those viewers who gave "Havoc in Heaven" high scores on Maoyan Movies were curious about what this legendary figure who created a box office miracle of 500 million yuan was like.

Those intellectuals who read Wang Sheng's interview in the newspaper wanted to see how much real talent this young man, hailed as a "leading figure in China's film industry," actually possessed.

Even some ordinary people who never care about movies have become interested in this name because of the overwhelming media coverage recently.

At nine o'clock sharp.

As the theme music from the movie channel began, the special program "China Movie Report" officially started.

The host, Tu Jingwei, appeared on the screen. She was wearing a red dress today, which made her look both festive and professional.

"Good evening, viewers, and welcome to our New Year's special program. I am your host, Tu Jingwei. In 2004, Chinese cinema set a historic record—the domestic film 'Havoc in Heaven' grossed over 500 million yuan, marking the beginning of a new era for the Chinese film market."

The scene shifts to a highlight from "Havoc in Heaven": Sun Wukong bursts forth from a stone, his golden cudgel sweeps across the heavenly court, and thousands of heavenly soldiers deploy a grand formation...

"Tonight, we are honored to have Mr. Wang Sheng, the general producer and director of 'Havoc in Heaven' and chairman of Shengying Media Group, and Mr. Xu Ke, the film's director, with us to discuss the significance and future of this '500 million era'."

The scene cuts back to the studio, where Wang Sheng and Xu Ke are sitting on the sofa.

Wang Sheng was wearing a light gray sweater and dark trousers today, looking casual and approachable.

Xu Ke, as always, wore a Zhongshan suit and looked energetic.

"Welcome, both of you." Tu Jingwei turned to them with a smile. "On the first day of the new year, let me first say hello to our audience."

Facing the camera, Wang Sheng smiled warmly: "Happy New Year to audiences across the country. Thank you all for your support of Chinese films over the past year. A special thank you to those who went to the cinema to watch 'Havoc in Heaven.' It is every ticket you bought that made this figure of 500 million possible."

"Mr. Wang Sheng," Tu Jingwei got to the point, "The 500 million yuan box office of 'Havoc in Heaven' caused a huge stir in the industry. Some people called it 'the coming-of-age ceremony of the Chinese film industry.' What do you think of this assessment?"

Wang Sheng pondered for a moment before slowly speaking: "'Coming of Age' is a very interesting term. It means that we are no longer children and must take on the responsibilities of adults. Chinese films have indeed reached this stage—we have market scale, industrial foundation, and audience trust. What we need to do next is to make good use of these resources and how to ensure the healthy and sustainable development of this industry."

He paused, then continued, "Of course, a box office of 500 million is something to be happy about, but what I value more is what lies behind this number. It means that our cinemas are more comfortable, our projection technology is more advanced, our film quality is higher, and most importantly—audiences are more willing to believe in the words 'domestic films.' This is a more valuable asset than box office revenue."

In the ensuing interview, Tu Jingwei asked many professional questions: about the development of special effects technology, the optimization of the production process, and the challenges of international cooperation...

Wang Sheng's answers are both professional and easy to understand, always able to explain complex concepts clearly in simple language. When talking about technology, he would say, "Special effects are not for showing off skills, but for helping to tell a story"; when talking about the market, he would say, "The audience is not just data, but individuals with emotions and aesthetic sense"; when talking about the future, he would say, "Chinese films still have a long way to go, and we need to be patient and confident."

Xu Ke occasionally added anecdotes from the filming process, recounting how he communicated with Liu Xiao Ling Tong, how he built the Heavenly Palace in the Huairou studio, and how he helped the young technicians understand what "Eastern aesthetics" is.

The entire interview was relaxed yet insightful, offering both industry insights and humanistic concern.

Time passed by unnoticed, and the program entered its final ten minutes.

Tu Jingwei raised a seemingly simple yet profound question: "Mr. Wang Sheng, do you think the Chinese film market will continue to prosper like this? What should we do if one day audiences are no longer as enthusiastic as they are now and are no longer willing to go to the cinema?"

Viewers in front of their televisions held their breath.

Wang Sheng remained silent for a few seconds.

His expression became serious, but his eyes remained gentle.

“If that day ever comes,” he said slowly, “it won’t be the audience’s fault.”

The studio fell silent.

Looking at the camera, Wang Sheng seemed to be speaking to every viewer: "The audience is always right. They vote with their hands, with their wallets, and with their word of mouth. If one day they are unwilling to go to the cinema, there is only one reason—we are not doing a good enough job."

"It could be that the movie itself is bad, the movie theater experience is terrible, the ticket price is too high, or the advertising is too misleading... Whatever the reason, the responsibility lies with us, not with the audience."

His voice was soft, but every word was clear and powerful: "The audience has given us their trust, and we must live up to that trust. Making good films, building good cinemas, and providing good service are our duties. If we can't even do our duties well, it's ridiculous to blame the audience for not appreciating them."

Tu Jingwei was touched by these words, and she asked softly, "Then what do you think we can do to prevent this from happening?"

"Always maintain a sense of awe," Wang Sheng said. "Awe for the audience, awe for the market, and awe for the art of film itself. Don't be complacent because of some achievements, and don't forget your original intentions because of some money. Film is first and foremost art and culture, and only then a commodity. This order cannot be reversed."

He paused, then continued, "I have said on many occasions that the golden age of Chinese cinema has only just begun. This is not just empty talk, but based on a simple belief—the Chinese people's demand for good stories and good movies is eternal. As long as we continue to provide high-quality content and continuously improve the viewing experience, the audience will continue to support us."

"So," Wang Sheng concluded, "the achievement of 500 million yuan is not only due to us filmmakers, but also to the millions of viewers. You cast your votes of confidence in Chinese cinema with your movie tickets. This confidence is more precious than any box office figure. We will cherish it, protect it, and repay it with even better works."

The program ended with applause.

(End of this chapter)