Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 596, Section 594: The Script and the Echo
The night the "China Movie Report" program aired, the Maoyan Movies community was engulfed in a heated discussion.

Although China's internet was still in the transition period between dial-up and broadband in early 2005, and the total number of internet users had just exceeded 100 million, "Maoyan" had already gathered a group of core movie fans and industry observers thanks to its content accumulation in the vertical field and the user base brought by its movie ticketing business.

At 11 p.m., less than two hours after the program ended, the homepage of the community's "Film and Television Circle" section was flooded with related discussions.

The title of the pinned post is: [Rational Discussion] In Wang Sheng's speech tonight, which parts were addressed to the industry and which parts were addressed to higher-ups?

The poster, "Film Apprentice 007," is clearly an industry insider, and their analysis is professional:
"Just finished watching the program, here are a few thoughts:"
1.王盛强调‘五亿是观众的功劳’不是谦虚，是事实。2004年全国票房总额预估在40亿左右（等官方年报），《大闹天宫》一部片就占了八分之一。这背后是银幕数增长（年底破4000块）、数字放映推广（全国已超800块数字银幕）、‘中影盛世’院线下沉（覆盖城市超120个）的综合结果。没有这些基建，再好的内容也卖不到这个数。

2. His repeated mentions of "industrialization" and "system" are a response to recent academic controversies. In those papers, he argued that "film is first and foremost an industrial product, and only then an art form," which drew harsh criticism from some old-school critics. But tonight, he used the example of "Havoc in Heaven" to illustrate that without industrialized process control, a 300 million yuan investment would easily exceed its budget, and special effects shots could not have been completed within six months.

3. The most intriguing part is the final line, "The audience is always right." While ostensibly addressed to industry professionals, this statement may be more accurately a message to management—leave market matters to the market, and avoid interfering with creative work through administrative means. Combined with his "Star Track Project," it's clear that Wang Sheng aims to establish a dual-track mechanism of "industry self-regulation + market adjustment" to reduce interference from non-market factors.

4. The filming details Xu Ke added were actually an advertisement for the 'Zhongbei Sheng Digital Film Base'. The first phase of the Huairou base is expected to go into production this June and needs projects to fill it. My information is that Shengying has already signed contracts for at least three A-list productions to be filmed there, including a war film.

One last question: Does anyone know the specific subject matter of the 'war epic' that Wang Sheng mentioned?

The comments below the post quickly piled up.

A user named "Student at Beijing Film Academy" replied: "Our teacher mentioned this program in class today, saying that Wang Sheng's understanding of industrialization is deeper than that of many professors. In particular, he mentioned that 'special effects are a means, not an end,' and our department head nodded in agreement."

User "Data Worker" replied: "According to the Maoyan backend, the audience profile of 'The Monkey King' shows that 42% are between 25 and 35 years old, and 58% have a bachelor's degree or above. This shows that the audience of domestic blockbusters is expanding to highly educated groups and is no longer just a 'migrant worker movie'."

User "Former Producer" replied: "I resonate most deeply with Wang Sheng's words about 'respecting the audience.' In the early 90s, when we made movies, we didn't care what the audience wanted to see; the leadership set the tone. That's no longer the case. If a film's rating on Maoyan is below 6, its screenings are halved. This is progress."

There are also dissenting opinions.

User 'Art Never Dies' replied: "Industrialization, industrialization, it's all the same old rhetoric. Film is art! Art needs inspiration, it needs individuality! If it's all mass-produced, what's the difference between it and a factory? No matter how good the special effects of 'Havoc in Heaven' are, does it have the vitality of 'Red Sorghum'?"

The user "Box office doesn't equal everything" replied: So what if it's 500 million? Those works with intellectual depth will always be remembered in film history. I have reservations about Wang Sheng's approach of turning movies into fast-moving consumer goods.

The debate continued until the early hours of the morning, with the post receiving over 50,000 views and more than 800 replies.

……

Time slipped away quietly amidst the debates and construction.

In mid-January, during the sixth week of its release, "Havoc in Heaven" saw its daily box office drop to around eight million yuan, but it still remained firmly in the top three of the weekly box office rankings.

The Film Bureau approved the extension of the film's key, extending the screening period to late February and covering the entire Spring Festival season.

The direction of media coverage began to shift.

The Economic Observer published a special feature: "The value of the industrial chain behind the 500 million yuan box office: Taking 'Havoc in Heaven' as an example to calculate the economic multiplier effect of domestic blockbusters."

The article cites some data provided by Shengying Media: "According to incomplete statistics, the film directly created more than 5000 jobs (including those during filming, post-production, and distribution), and indirectly created an estimated 10,000 jobs in related industries (prop making, costume processing, catering and accommodation, tourism, etc.).

The film had a budget of 300 million yuan, of which approximately 180 million yuan was used for domestic procurement and labor costs. Preliminary estimates suggest that the economic value generated by these funds circulating within the industry chain could reach 2.3 times the investment amount.

The report also mentioned technology spillover: "The CG group animation system developed for filming has begun to provide technical services to other production companies; the miniature model of the 'Heavenly Court' that was built has been preserved and will become a tourist attraction at the Huairou Film Base; the color management process used in the film is being adopted by many post-production companies."

The Cultural Daily, on the other hand, takes a soft power approach: "Looking at the international expression of Chinese cultural products through 'Havoc in Heaven'".

A reporter interviewed overseas film distributors participating in the China-US International Film Festival: "A French distributor said that the success of 'Havoc in Heaven' lies in the fact that 'it did not try to imitate 'The Lord of the Rings,' but created a completely Eastern fantasy world.'"

An American film critic commented: "The film is visually international enough, but at its core it maintains Chinese philosophical reflections—about resistance and order, the individual and the collective."

The article concludes: "As China's economic strength increases, cultural export becomes an inevitable issue. 'Havoc in Heaven' offers a solution: using universally accepted cinematic language to package China's unique cultural core. This dual export of 'hard power (industry) + soft power (culture)' may be more effective than simple ideological propaganda."

In these macro-level discussions, ordinary viewers vote with their feet.

As of January 25, "Havoc in Heaven" had grossed 580 million yuan, raising the bar for domestic films to a new level.

……

January 29th, Saturday, the 1th day of the twelfth lunar month.

The villa outside the North Fifth Ring Road in Beijing once again welcomed guests.

At 9:30 a.m., three cars drove into the courtyard one after another.

Zhang Yi got out of the first car. He was wearing a dark blue down jacket and carrying a bulging file bag.

Following closely behind were five screenwriters and a historical consultant—the core creative team he had assembled over the past twenty days at Wang Sheng's request.

When everyone entered the living room, Wang Sheng was already there.

He was dressed casually today, in a dark gray cashmere sweater and black trousers, and was sitting on the sofa reading a report.

He stood up to greet the person who came in.

"Director Zhang, everyone, thank you for your hard work. Please have a seat." After everyone was seated, the personal assistant served them hot tea.

Zhang Yi introduced the team members: "Chairman Wang, this is Professor Wang Shuzeng, a military history expert who specializes in the War to Resist US Aggression and Aid Korea. He has published works such as 'The Korean War' and is our chief historical advisor."

Wang Shuzeng, around sixty years old, with gray hair but vigorous spirit, shook hands firmly: "Chairman Wang, I have carefully studied your industrial layout strategy and feel that it is very necessary to make a war epic film that belongs to us."

"This is Mr. Li Pingfen, a veteran screenwriter from the August First Film Studio. He participated in the creation of the script for the 'Great Battle' series and is skilled in grand narratives and military details."

Li Pingfen was cheerful and talkative: "Chairman Wang, I have long admired your name. I have watched your film 'Havoc in Heaven' three times, and each time I have new feelings. I am both excited and feel a great responsibility when Director Zhang asked me to participate in this project."

"This is Mr. Jiang Qitao, a screenwriter we specially invited. Mr. Jiang has created war-themed works such as 'The Sound of Horse Hooves' and 'The Battle of Taierzhuang,' and has unique insights into the portrayal of humanity in the context of war."

Jiang Qitao, in his early fifties, had a calm face and sharp eyes: "Hello, Chairman Wang. I've been studying the creative principles of war-themed works for many years. I think the most important thing about the War to Resist US Aggression and Aid Korea is to portray 'people'—not symbolic heroes, but real people in extreme circumstances."

"This is Mr. Xing Yuanping, who is skilled at portraying characters' dialogues and emotional scenes."

"This is Mr. Chen Huaiguo, who is in charge of the overall structure and the rhythm of the drama."

—This team was meticulously assembled by Zhang Yimou: Wang Shuzeng provided the historical framework, Li Pingfen grasped the military context, Jiang Qitao injected the characters with flesh and blood and the texture of war, and Xing Yuanping and Chen Huaiguo were responsible for the film and television adaptation.

After the introduction, Zhang Yimou got straight to the point: "Chairman Wang, as per your request, we have mainly done three things in the past twenty days: first, historical research; second, character analysis; and third, finalizing the framework for the first film."

He opened the folder and took out a neatly bound script outline, the cover of which read: "The Battle at Lake Changjin: Part One - Decision".

“We decided to start with the Battle of Chosin Reservoir,” Zhang Yimou said. “This was the eastern part of the Second Phase Offensive of the Korean War, which took place from November to December 1950.”

Several factors were considered in choosing this battle: First, it enjoys high domestic recognition and has an emotional connection; second, the battle was dramatic and full of twists and turns; third, it embodies several core characteristics of the Korean War—combat under extreme conditions, the clash between the Chinese and American armies over equipment disparities, and the indomitable will of the Chinese People's Volunteer Army.

Wang Sheng opened the outline and listened quietly.

Wang Shuzeng added: "From the perspective of historical authenticity, the materials on the Battle of Chosin Reservoir are relatively complete. Both China and the United States have a large number of war history records and veterans' memoirs. We have consulted some telegrams that have been unsealed in the archives, the battle reports of the 9th Army Corps of the Chinese People's Volunteer Army, and the combat records of the 1st Marine Division of the United States Marine Corps, striving to ensure that every key point is supported by historical materials."

Jiang Qitao continued, "In terms of artistic treatment, we designed two main lines: one is the macro-level strategic decision-making level, from the late-night discussions in Juxiang Study to the difficult choices made by the Volunteer Army Headquarters in front of the map; the other is the micro-level battlefield execution level, focusing on a company—the fictional 'Iron Seventh Company', showcasing the cruelty and greatness of the battle through the perspective of ordinary soldiers."

Li Pingfen said, "For the battlefield part, we wanted to emphasize realism. The Battle of Chosin Reservoir took place on the Gaema Plateau in northern Korea, where the weather was the worst in fifty years, with temperatures dropping to minus thirty or forty degrees Celsius. The 9th Army Corps of the Chinese People's Volunteer Army was urgently transferred from the southeast coast, and many soldiers were still wearing only light clothing. The US military was the 1st Marine Division, one of the most elite units in the world at the time, and their equipment, supplies, and firepower were on a completely different level."

He paused, his voice low and somber: “We interviewed surviving veterans. One veteran said that his company lay in ambush in the snow for three days and three nights. When the order to attack came, out of more than a hundred men in the company, only thirty-seven were able to stand up—the others were frozen stiff, and some never woke up again. As soon as the bugle sounded, those soldiers, whose hands and feet were numb from the cold, gritted their teeth and charged forward. This is true history.”

The living room was quiet for a few seconds.

Wang Sheng asked, "From a technical perspective, how is this extreme environment presented?"

Zhang Yimou was well-prepared: "Our plan is in three steps. First, on-location filming. We've already contacted several locations in Heilongjiang and Jilin provinces where winter temperatures can drop to minus thirty degrees Celsius, allowing us to recreate the snowy environment. Second, special effects. The effects of wind and snow, frostbite, and large-scale marches through the snow all require CG enhancement. Third, the costumes and props must be extremely meticulous. What is the thickness of the Chinese People's Volunteer Army's cotton-padded coats? What is the material of the American military's cold-weather clothing? How are firearms used in extreme cold? These details determine the realism."

Xing Yuanping added regarding character development: "We didn't want to portray stereotypical heroes. For example, the character of the company commander, we designed him to be originally a militia captain in a rural area of ​​Shandong Province. After joining the army, he fought in several battles and was promoted to company commander. He is experienced, but he is also afraid of death. He would break down if he saw his comrades freezing to death, but he would still rush in when a mission came. This kind of real humanity is more powerful."

Chen Huaiguo discussed the structure: "We divided the first script into three acts. Act 1: The decision to send troops and the secret entry into Korea (30 minutes); Act 2: The Ninth Army Corps' forced march and battle deployment (40 minutes); Act 3: The bloody battle of Chosin Reservoir and the US breakout (50 minutes). The ending leaves an open sense of tragic grandeur—they won, but the price was too high."

After listening to everyone's remarks, Wang Sheng closed the script outline.

He paused for a moment, then asked a question: "What do you want to tell today's audience through this film?"

Everyone was stunned.

Wang Sheng slowly said, "If it's just about restoring history, then a documentary is more suitable. Films need emotional resonance and contemporary relevance. For young people, the war of 1950 might just be a few lines in a history book. Why should we spend two or three hundred million to make a film about it? What do we want to evoke?"

After a moment of contemplation, Zhang Yimou replied, "What I want to evoke is 'spirit'. That spirit of not yielding in the face of absolute disadvantage, that spirit of daring to fight hard battles for the fate of the nation. Today our lives are better, but we cannot lose that spirit."

Jiang Qitao said, "I want to show the weight of 'choice'. At that time, the new China had just been founded, and everything was in ruins. Why fight this war? It was a strategic choice made by the national leaders under extremely difficult circumstances. Today's audience may think about this: when the country faces challenges, what choices will our generation make?"

Wang Shuzeng added from a historical perspective: "The significance of the War to Resist US Aggression and Aid Korea is not only about protecting our homeland. It made the world re-understand China—this country is not the late Qing Dynasty, not the Republic of China, but a new China that is determined and capable of defending its own interests. The establishment of this national image has had a profound impact on development in the following decades."

Wang Sheng nodded.

“Okay,” he said. “Then the scriptwriting should revolve around these core elements. A few specific suggestions: First, the strategic decision-making section should be solid, but not lengthy. What the audience ultimately wants to see is the battlefield. Second, the ensemble cast of characters should be vivid, but with a focus, and not too many. Third, the war scenes should be realistic and brutal, but also have cinematic aesthetics—this is not about promoting violence, but about letting the audience feel the horror of war and thus cherish peace.”

He looked at Zhang Yimou: "Regarding the budget, I can offer 250 million for the first film. But we need to sign a performance-based agreement—if the domestic box office is less than 500 million, your director's fee for the next three years will be halved; if it exceeds 500 million, you will receive 5% of the net profit from the sequel. Dare to take it?"

Zhang Yi nodded: "I dare."

“Then,” Wang Sheng stood up, “we’ll continue to develop the script in this direction. I want to see the complete first draft by the end of February. At the same time, technical testing needs to start simultaneously—the feasibility of filming in extreme cold environments, the scheduling plan for large-scale war scenes, and the accuracy of historical equipment recreation—we need detailed reports on all of these.”

"This film is not just a commercial project, nor is it just a work of art. It may become a collective memory of a generation, a spiritual footnote to a certain moment in this country's history. We must live up to history, live up to the heroes who lie buried in North Korea, and live up to the audience who go to the cinema."

"The pressure will be immense, and there will be a lot of controversy. But some things just have to be done by someone."

(End of this chapter)