Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 600, Chapter 598: Reaction

The applause inside the Berlin Film Palace subsided like a receding tide, and the awards ceremony officially came to an end.

The guests, dressed in evening gowns, began to leave in an orderly fashion, the air filled with the scents of champagne, perfume, and an indescribable sense of excitement.

For filmmakers, the Golden Bear at the Berlin Film Festival is not only an artistic recognition, but also a new opportunity for global distribution.

Guided by staff, Wang Sheng and the crew of "Seoul Farewell" left the main hall through a side door and headed to the closing banquet hosted by the film festival.

People kept coming up to offer their congratulations along the long corridor.

“Mr. Wang, congratulations!” A gray-haired German gentleman extended his hand and spoke in heavily accented English, “I am Ulrich Felsberg from Constantin Film.”

Wang Sheng shook hands with the other party.

Constantin Film is one of Germany's largest independent film companies, with multiple business lines including distribution, production, and cinema, and has a huge influence in the German-speaking part of Europe.

“Thank you, Mr. Felsberg. I really appreciate Constantin Film’s ‘Downfall’.” Wang Sheng accurately mentioned the film produced by the other company last year, which was nominated for the Academy Award for Best Foreign Language Film.

Felsberg's eyes lit up: "You've seen it? How was that movie received in the Asian market?"

“It has a certain reputation among professional film fans.” Wang Sheng gestured to the translator next to him to wait a moment, “But today I would like to talk to you about the possibility of releasing ‘Seoul Farewell’ in German-speaking regions.”

“That’s exactly what I wanted to say.” Felsberg took out a business card from his suit pocket. “We can discuss this in detail tomorrow morning at 10 a.m. in the conference room on the second floor of the Palais des Festivals. Constantine has priority for Golden Bear winners—it’s an informal tradition at the Berlin Film Festival.”

"I will be there on time."

The two exchanged business cards and then parted ways. Margaret Schroeder, Director of International Affairs for the film festival organizing committee, was waiting at the front of the corridor.

“Mr. Wang, this way please.” The smartly dressed German woman in her fifties smiled and said, “The dinner is being held at the Marriott Hotel in Potsdamer Platz, but before that, several important publishers would like to have a brief chat with you.”

"Please introduce me."

As Schroeder walked, he explained, “First, there’s a representative from Focus Features. They are a subsidiary of Universal Pictures, specializing in the distribution of art films and foreign language films. They have a well-established network of art film theaters in the North American market.”

"I know Focus Features; they distributed films like 'The Pianist' and 'Lost in Translation.'"

“Yes. Their Director of International Acquisitions, Thomas Kessler, has been waiting for fifteen minutes.” Schroeder lowered his voice. “Focus is determined to acquire the North American rights to ‘Seoul Farewell,’ but the offer may not be too high—after all, it’s an Asian film.”

Wang Sheng nodded in understanding.

In the North American market in 2005, foreign language films remained a niche market. Most Asian films struggled to break the ten million dollar mark at the North American box office.

Companies like Focus Features typically employ a strategy of low-cost buyouts, leveraging awards marketing and word-of-mouth to achieve long-term screenings in limited art-house cinemas, aiming for Oscar nominations before expanding distribution.

"The second person is a representative from Pathé, one of the largest film distributors in France, covering markets such as France, the UK, Switzerland, and the Netherlands. They are interested in the copyrights for the French-speaking regions of Europe."

"The third is Film4 from the UK, and the fourth is a representative from Shochiku Films from Japan—you should have dealt with them before."

“Shochiku Pictures is our long-term partner.” Wang Sheng recalled that both “First Love” and “My Sassy Girl” were distributed by Shochiku in Japan.

Schroeder added, "There are also several independent publishers from Italy, Spain, and Australia. As is customary, negotiations for the global distribution rights of the Golden Bear winners will take place tonight and tomorrow. The organizing committee suggests that you first contact large distribution companies, as they have more comprehensive international networks."

The group arrived at the VIP lounge on the second floor of the cinema.

More than twenty people had already gathered there, holding champagne glasses and talking in hushed tones.

Upon seeing Wang Sheng enter, the conversation paused briefly, and then several representatives in suits stepped forward.

Thomas Kessler of Focus Features, an American in his forties wearing black-rimmed glasses, spoke quickly: “Mr. Wang, first of all, congratulations! ‘Seoul Farewell’ is the most mature film I saw in Berlin this year. Focus Features is looking to acquire the full media distribution rights in North America, including theatrical releases, DVDs, and TV on demand. We can offer a guaranteed buyout of $15 million, plus a 150% share of the net revenue.”

This asking price was expected.

For a Sino-Korean co-production with a production cost of approximately $800 million, a North American minimum guarantee of $150 million is not high, but considering the reality of foreign language films, it is within a reasonable range.

“Mr. Kessler, thank you for the offer.” Wang Sheng did not respond immediately. “However, I prefer the ‘minimum guarantee plus revenue sharing’ model. In the North American market, we hope to have a deeper cooperation, not just a buyout. In addition, the film’s female lead, Li Bingbing, has the potential to compete for the Oscar for Best Actress, and her experience in award public relations is something we value.”

Kessler wasn't too surprised. Wang Sheng had partners like Disney and New Line Cinema in North America, so he wasn't worried about distributing the film there.

“Oscars PR requires an additional budget, and there are many uncertainties,” Kessler said cautiously. “But if you are willing to cover part of the PR costs, we can discuss a revenue-sharing arrangement.”

"We can discuss this in detail tomorrow morning at 10:30," Wang Sheng said, then turned to the next person.

Jean-Pierre Durand, the representative of Pathé France, is a debonair old-fashioned gentleman whose French-accented English sounds particularly elegant: "Pathé is very confident in the distribution of 'Seoul Farewell' in the French-speaking regions of Europe. We plan to hold a media screening during the Cannes Film Festival, and if the response is good, it can be officially released in the fall."

“Mr. Durand, Pathé’s cinema resources in France are well-known,” Wang Sheng said. “However, I hope the film can be shown on at least 100 screens in France at the same time, rather than the traditional ‘Paris first, then other provinces follow’ model.”

This is a common practice in the distribution of European art films. To control risk, distributors often first screen the films on a small scale in art cinemas in major cities such as Paris, and then gradually expand the screenings as word-of-mouth spreads.

Durand paused for a moment: "This requires a larger market investment. Pathé can commit to opening on 80 screens simultaneously, and if the box office per screen exceeds 5000 euros in the opening weekend, it can be expanded to 120 screens in the second week."

"Okay, we can discuss the details tomorrow."

Next were representatives from Film4, acquaintances from Shochiku Pictures, the Italian distribution company 01, and the Spanish company Alta Films… With the assistance of a translator, Wang Sheng had brief exchanges of 5 to 10 minutes with representatives from each company, accepted a stack of business cards, and arranged a time for subsequent talks.

During this process, he subtly introduced another topic: "If you are interested, you can consider attending the Chinese American International Film Festival next fall. The first edition was held in Los Angeles last year, and the second edition will be held in Shanghai. We plan to set up a 'World Cinema Section' to specifically showcase outstanding works from Europe and Asia."

"What is the composition of the SAIFF jury?" asked the Film4 representative.

"World-class".

Wang Sheng paused for a moment: "SAIFF has direct access to China's distribution system. Films shortlisted for the main competition have the opportunity to be distributed in mainland China through Shengying Media and China Film Group."

This statement piqued the interest of the publishers present.

In 2005, the growth potential of the Chinese film market was already evident.

More importantly, there are still many restrictions on access to the Chinese market, with only 20 revenue-sharing blockbusters and about 30 buyout films available each year.

The opportunity to secure distribution through film festivals is tempting for any international distributor.

"The organizing committee will officially send out invitations next March," Wang Sheng added. "We're exchanging business cards today, and I'll have my colleagues follow up later."

After a round of conversation, Wang Sheng's assistant's business card holder was already full. At this moment, Ms. Schroeder approached again, followed by several distinguished guests.

“Mr. Wang, please allow me to introduce some important supporters of the Berlin Film Festival,” Schröder said in German, as the translator relayed, “This is Mr. Dieter Kosslick, the new president of the Berlin Film Festival.”

Kosslick was about fifty years old, tall, and had a gentle smile.

He just succeeded Moritz de Hadern, who had served as the festival's president for 26 years, as the new head of the Berlin Film Festival this year.

"Chairman Kosslick, it's an honor to meet you." Wang Sheng shook hands with the other party.

“Congratulations to you and your team.” Kosslick said in fluent English, “A Farewell to Seoul is an excellent film, and the jury’s choice was uncontroversial. The Berlin Film Festival has always been committed to promoting film exchange between Europe and Asia, and we hope to see more of your works here in the future.”

"Definitely. In fact, I am currently preparing a Sino-German co-production about a German engineer's involvement in wind power construction in western China. If the script is finalized, I hope it will premiere in Berlin."

Kosslick's eyes lit up: "This is a very interesting topic. The Berlin Film Festival's 'Berlin Co-production Market' section can support projects like this, and my office can assist if you need to be introduced to German producers."

"grateful."

Schröder then introduced the president of the German Film Association, the operations director of the Babelsburg Studios, and representatives from European film promotion organizations. These institutions and individuals constitute the infrastructure network of the German and even European film industry.

Babelsberg Studio is one of the oldest film studios in Europe, and Fritz Lang's "Metropolis" was created here.

In 2005, it had just finished filming "The Lives of Others," which would premiere at the Berlin Film Festival the following year and eventually win the Academy Award for Best Foreign Language Film.

“If Mr. Wang is interested, you can visit Babelsburg tomorrow,” the operations director invited. “We recently introduced the latest digital photography and virtual production technologies, and many Hollywood films have their post-production done here.”

"I am looking forward."

Finally, Schroeder brought an unexpected guest: "This is Mr. Wim Wenders."

Wang Sheng was filled with awe.

Wim Wenders is one of the leading figures of the German New Cinema movement. He directed classic works such as "Wings of Desire" and "Paris, Texas" and enjoys a high reputation in the international film industry.

“Mr. Wenders, I am a fan of yours,” Wang Sheng said sincerely.

Wim Wenders, now sixty, with his neatly combed gray hair and still sharp eyes, said: “I’ve seen ‘Havoc in Heaven’ and was amazed that a Chinese director could handle the fantasy genre so skillfully. ‘Seoul Farewell’ presents a completely different style. This kind of diversity is rare.”

"Film is like language; different genres are just different ways of expression."

“Well said,” Wenders nodded. “Berlin needs more filmmakers like you—those who know how to communicate with audiences without abandoning their artistic pursuits. Would you like to have the opportunity to make a film in Berlin?”

“We are considering it. Germany’s achievements in environmental technology and industrial design are a good background for comparison in the Chinese story.”

“If you come, tell me. Maybe I can play a small role.” Wenders rarely joked.

Amidst laughter, Schroeder reminded everyone that the dinner was about to begin.

Wang Sheng bid farewell to these key figures in the European film industry one by one, promising to stay in touch.

……

Berlin local time, 2 a.m. on February 20.

Beijing time, February 20th, 7:2 AM.

The opening theme music for CCTV-1's "Morning News" started playing on time.

The host straightened his posture and faced the camera: "Good morning, viewers, and welcome to 'Morning News.' Let's start with important news from the cultural field."

The scene shifts to the exterior of the Berlin Film Palace, and the movie poster for "Seoul Farewell".

"Early this morning Beijing time, the 55th Berlin International Film Festival awards ceremony was held in Berlin, Germany. The film 'Seoul Farewell,' co-produced by China's Shengying Media Group and South Korea's Taewon Entertainment, won the Golden Bear for Best Film, while its female lead, Chinese actress Li Bingbing, won the Silver Bear for Best Actress."

The anchor's voice was steady but tinged with pride: "This is the third time a Chinese film has won the highest honor at the Berlin Film Festival. The previous two were 'Red Sorghum' directed by Zhang Yimou in 1988 and 'Woman Sesame Oil Maker' directed by Xie Jin in 1993. But unlike the past, 'Seoul Farewell' is the first Sino-Korean co-production to win the Golden Bear, marking a new stage in Asian film cooperation."

The video plays clips from the awards ceremony: Wang Sheng and Huo Jianqi hold the Golden Bear trophy, and Li Bingbing delivers her acceptance speech with tears in her eyes.

"Seoul Farewell" is co-directed by Wang Sheng and Huo Jianqi. It tells the story of a Korean family’s conflicts and reconciliations over immigration issues. The film delicately depicts the common dilemmas faced by contemporary Asian families and has won high praise from the international jury.

Next came a phone interview with a film critic.

"The success of 'Seoul Farewell' has several important implications: First, it proves that Chinese filmmakers can not only produce commercial blockbusters but also handle profound artistic themes; second, the Sino-Korean co-production model has found a balance between art and the market; third, Wang Sheng, as producer, demonstrated a precise grasp of different themes and cultures. This may promote more film collaborations between Asian countries..."

CCTV's news channel and movie channel also reported on it simultaneously. Subsequently, major local satellite TV stations followed suit in their morning news broadcasts.

The Beijing Morning Post published a front-page headline: "Berlin wins Golden Bear! 'Seoul Farewell' makes history as a Sino-Korean co-production."

The article states: "Wang Sheng has once again demonstrated his profound understanding of the Chinese film industry—not only industrial blockbusters like 'Havoc in Heaven,' but also delicate and nuanced works of art like 'Seoul Farewell.' This filmmaker, only 28 years old, is redefining the boundaries of 'Chinese cinema.'"

Online media reacted even faster. Sina, Sohu, and NetEase pushed out news updates on their homepages, and the pinned discussion thread on the "Maoyan Movies" community already had tens of thousands of replies.

A user named "Movie Deep Observation" posted an analysis: "What's terrifying about Wang Sheng is that he's never limited by genre. 'Night at the Museum' is a fantasy comedy, 'The Pursuit of Happyness' is a realistic inspirational film, 'Spy Kids' is an action comedy, 'Havoc in Heaven' is a mythological epic, and now 'Seoul Farewell' is a family drama... He can excel in every genre."

This cannot be explained by talent alone; it is a triple combination of a profound understanding of the essence of film, an industrialized production system, and an international perspective.

Some commenters agreed, while others questioned: "But isn't it too fragmented? A director should have his own auteur style."

Someone immediately countered: "Wang Sheng's role is more like that of a producer and strategist. He doesn't need a fixed authorial style; what he needs to do is judge which style is most effective at what time. That's true industry thinking."

The debate continues, but a consensus is forming: Wang Sheng and his Shengying Media have become an indispensable core force in Chinese cinema.

Seoul time, February 20th, 7:30 AM.

In the KBS "Good Morning Korea" studio, the female anchor broadcasted with an excited voice:

"Exciting news! The film 'Seoul Farewell,' co-produced by Thai Won Entertainment and China's Sheng Ying Media, won the Golden Bear, the highest award, at the recently concluded 55th Berlin International Film Festival!"

The screen played a video from Berlin: Jung Tae-won shaking hands with Wang Sheng, images of Korean actors such as Ryu Seung-ryong, Shin Young-kyun, and Hwang Jung-min on the red carpet, and Im Yoon-a's slightly childlike yet poised smile.

"This is the first time a South Korean film has won the Berlin Golden Bear as a co-production, and it is also one of the highest honors at international film festivals for South Korean actors. The superb performances of actors such as Ryu Seung-ryong, Shin Young-kyun, and Hwang Jung-min, as well as the outstanding performance of newcomer actress Im Yoon-ah, have won high praise from the jury."

Next up was a live video link from film critic Lee In-hee.

"The success of 'Seoul Farewell' is no accident," Lee In-hee said quickly. "First, the script is solid, exploring real-world issues in Korean society—immigration, the generation gap, and family responsibility; second, the cast is strong, with a perfect blend of veteran actors and newcomers; third, and most importantly, the Chinese producer, Mr. Wang Sheng, has a keen eye for art films and professional control over international collaborations. This proves that South Korea-China film collaborations can absolutely produce world-class works."

MBC and SBS also gave extensive coverage to the news in their morning programs.

The Chosun Ilbo's front-page headline reads: "South Korea-China co-production conquers Berlin: 'Seoul Farewell' wins Golden Bear."

The article provides a detailed analysis of the cooperation model: "Jung Tae-won, president of Tae-won Entertainment, has shown great foresight by collaborating with Sheng Ying Media, one of China's most powerful companies. The Chinese side provides the core creative ideas and production control, while the Korean side provides localized adaptations and the cast. This 'creative-driven + localized execution' model may be a new path for the internationalization of Korean films."

Special emphasis was placed on the contributions of Korean actors: "Ryu Seung-ryong's explosive performance in the courtroom scenes, Shin Young-kyun's portrayal of the vulnerable yet stubborn ailing father, and Hwang Jung-min's delicate balance as a mediator all demonstrate the profound skills of Korean actors."

Meanwhile, SM Entertainment trainee Im Yoon-ah, at the young age of 15, played a key role, and her natural performance was a revelation. This is not only a success for the film, but also a victory for the talent development system of the Korean entertainment industry.

Online communities were buzzing with excitement.

Naver's film section, pinned post titled: "[Breaking News] Berlin Golden Bear! South Korea-China co-production 'Seoul Farewell' makes history!"

The most upvoted comment reads: "Seeing Ryu Seung-ryong standing on the international stage is truly moving. Korean actors are fully capable of carrying leading roles in world-class films. Thank you to producer Wang Sheng for giving me this opportunity."

However, there are dissenting voices: "Although it's a co-production, the Chinese side clearly holds the dominant position. Is the Golden Bear award truly an honor for South Korea?"

Someone immediately countered: "The film was shot in Seoul, tells a Korean family story, and most of the actors are Korean. Director Hok Kun-ki also fully respected Korean culture. This is certainly an achievement for Korean cinema! Collaboration does not mean losing our own identity, but rather expanding our influence."

Inside the SM Entertainment building, Lee Soo-man arrived at his office early.

He looked at the photo of Yoona in Berlin on the computer screen and smiled.

This 15-year-old girl has already surpassed all her fellow trainees because of a movie.

The company adjusted Yoona's training plan, increasing her acting classes to 20 hours per week, requiring her to keep up with Chinese lessons, and also starting to learn simple English conversations.

(End of this chapter)