Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 602: Turmoil and Setting the Tone
The day after the news broke, the phone rang incessantly in the conference rooms of several major film and television companies in Beijing.

"Mr. Wang, have you heard about what happened at Shengying?"

Wang Zhonglei held the phone, his brows furrowed.

On the other end of the phone was Xu Yong'an from Hengdian World Studios: "I've heard about it. I originally had three Qing Dynasty dramas scheduled to start filming in Hengdian, but now all the investors are calling to ask if there have been any policy changes."

“We’re also making inquiries,” Wang Zhonglei said in a low voice, “but Han Sanping hasn’t given a clear answer, only saying that ‘Shengying’s business adjustments are a matter of corporate autonomy.’”

"Do you believe that?" Xu Yong'an smiled wryly. "What is Sheng Ying's status now? Wang Sheng just won the Golden Bear Award and signed a bunch of cooperation agreements with Europe. Do you think he would just casually cancel a Qing Dynasty drama at this time?"

Similar conversations are taking place across the country.

Ren Zhonglun's office in Shanghai.

The director of the Shanghai Film Group's TV drama production center, holding a folder, looked nervous: "Chairman Ren, we submitted five period drama projects this year, three of which are set in the Qing Dynasty. Should we...?"

"Wait a minute." Ren Zhonglun waved his hand, gesturing for him to sit down. "I'm going to make a phone call."

He dialed the number of an old classmate at the Film Bureau.

After a few pleasantries, Ren Zhonglun got down to business: "Old Li, what exactly is the higher-ups' intention regarding Sheng Ying's matter?"

There was a few seconds of silence on the other end of the phone: "Zhonglun, I really don't know much about this. The Film Bureau hasn't issued any documents regarding restrictions on historical dramas."

"Then why is Wang Sheng..."

"It's probably his own judgment," the old classmate said cautiously. "But to be honest, there are indeed too many Qing Dynasty dramas. My son was telling me yesterday that all the TV shows are full of people with queues."

After hanging up the phone, Ren Zhonglun fell into deep thought.

Meanwhile, all sorts of messy news and rumors are spreading like wildfire on various film and television forums and industry communication groups.

"Insider information: Sheng Ying has cut seven period dramas, with a total budget exceeding 200 million yuan!"

"I heard that Wang Sheng said in an internal meeting that Shengying Film Studio will not touch Qing Dynasty themes for the next five years."

"Why? Didn't 'Yongzheng Dynasty' just get a rerun and the ratings were pretty high?"

"The person upstairs is too naive. Would a boss of Wang Sheng's caliber cut a profitable project for no reason? There must be something going on."

"Could it be... that the higher-ups are going to crack down on historical dramas?"

"It's hard to say. But I've heard that the XX department has indeed been investigating the direction of historical fiction creation recently."

These half-true, half-false reports have made the already sensitive industry even more anxious.

Some small and medium-sized production companies have begun to adjust their project plans.

The most nervous were the screenwriters who specialized in writing dramas about the Qing Dynasty.

In a residential complex on the North Fourth Ring Road in Beijing, a three-bedroom apartment was filled with smoke.

Three veteran screenwriters sat together, their ashtrays overflowing with cigarette butts.

"Old Liu, you've got connections, what's going on?" The middle-aged man with glasses looked at his bald colleague across from him.

The bald screenwriter shook his head: "I asked a friend at the Film Bureau, and he said there was no such thing. But the people in the TV station's acquisition department told me that they received a notice to 'enrich the diversity of historical drama themes'."

"Isn't it obvious?" The third, younger screenwriter stubbed out his cigarette. "They just think there are too many Qing Dynasty dramas! If Shengying takes the lead, other companies will definitely follow suit. We're probably done making a living this way."

"Surely not?" The bespectacled screenwriter still held a sliver of hope. "The audience loves it. 'Yongzheng Dynasty' and 'Kangxi Dynasty,' weren't they both ratings champions?"

“What the audience likes to watch and what the higher-ups want the audience to watch are two different things.” The bald screenwriter sighed. “I heard that an expert from the Chinese Academy of Social Sciences wrote an internal report to the higher-ups, saying that the proliferation of Qing Dynasty dramas has led to a distortion of historical understanding. He suggested strengthening support for Han, Tang, Song and Ming Dynasty themes.”

Silence fell in the room.

After a long time, the young screenwriter suddenly said, "How about... we change our approach? I have a script outline for Emperor Wu of Han, but I haven't dared to show it to anyone."

"Let's see what the wind is blowing first." The bald screenwriter stood up. "I'll go to the Beijing Film Academy tomorrow to ask around. Wang Sheng graduated from the Beijing Film Academy, so the school must have some information."

……

February 25th, Friday morning.

The tea room outside the conference room on the third floor of the Film Bureau building.

Wang Sheng arrived twenty minutes earlier than scheduled. He was wearing a dark gray suit and a white shirt, without a tie, which made him look formal but not stiff.

There were already people in the tea room.

Han Sanping was talking to two men who were around fifty years old.

Upon seeing Wang Sheng enter, Han Sanping waved and said, "Wang Sheng."

"teacher."

Wang Sheng walked over and nodded to the other two, "Director Zhang, Director Li."

These two individuals are the deputy director of the Film Bureau and the director of the Television Drama Department of the State Administration of Radio and Television, respectively.

They both graduated from the Beijing Film Academy's Department of Management, so they are Wang Sheng's senior classmates.

"Chairman Wang has been making a lot of moves lately."

Li Si smiled and poured Wang Sheng a cup of tea. "The whole industry is talking about cutting off the braided costume dramas right now."

Wang Sheng took the teacup, his expression calm: "It's just a normal business adjustment at Shengying. Why is Director Li concerned about such a trivial matter?"

“A trivial matter?” Director Zhang chimed in, “Nothing you, Wang Sheng, do now is a trivial matter in the industry. Yesterday alone, I received no fewer than ten phone calls, all inquiring about policies.”

Han Sanping tried to smooth things over, saying, "It's a good thing that companies adjust their creative direction according to market changes. It shows that Shengying has foresight."

"Chairman Han is right." Li Si nodded, but then changed the subject, "But Wang Sheng, we both came from Beijing Film Academy. Let's be honest behind closed doors, is this adjustment really just a market judgment?"

The atmosphere in the tea room became subtle.

Wang Sheng took a sip of tea and said slowly, "Director Li, Director Zhang, since we're both senior colleagues, I'll be frank."

He put down his teacup: "First, from a market perspective, the market for period dramas with Qing Dynasty characters has indeed become saturated. Last year, Qing Dynasty dramas accounted for more than 60% of the period dramas broadcast on national satellite channels. It's only a matter of time before audiences experience aesthetic fatigue."

"Secondly, from a cultural perspective, China has a 5,000-year history of civilization. As a popular cultural product, TV dramas should present a richer historical panorama. Focusing solely on the two or three hundred years of the Qing Dynasty is a waste of historical and cultural resources."

"Third," Wang Sheng paused, "as a leading company in the industry, Shengying should shoulder the responsibility of guiding the direction of creation. We can't just think about making money; we also need to consider the cultural value and social impact of our works."

These words were perfectly worded, stating the position without touching any sensitive red lines.

Director Zhang and Director Li exchanged a glance, both understanding the unspoken meaning.

"So," Li Si asked tentatively, "isn't there some new directive from above?"

“I haven’t received any formal notification,” Wang Sheng answered frankly. “This was entirely an independent decision made by Shengying based on its assessment of the market and its cultural responsibility.”

Han Sanping interjected at the opportune moment: "Actually, Wang Sheng's idea is correct. Film and television creation should strive for diversity, and we can't all rush to make films on the same subject. Qing Dynasty dramas have indeed become a bit too popular in recent years, and cooling them down appropriately is a good thing for the long-term development of the industry."

He looked at the two leaders and said, "But Wang Sheng, with such a big move, it's inevitable that the people below will have some doubts. In the future, you can communicate with them in advance about such strategic adjustments to avoid unnecessary speculation."

On the surface, this statement was a "criticism" of Wang Sheng, but in reality, it was an attempt to exonerate him by characterizing the "cutting off the queue" opera as a "corporate strategic adjustment" rather than a "change in policy direction."

Wang Sheng readily agreed, "Teacher Han's criticism is correct. I didn't think things through this time. I'll definitely pay attention in the future." Director Zhang smiled, "Alright, we're all on the same side, no need to be so polite. But Wang Sheng, your move has indeed affected the interests of quite a few people. I heard that some companies that specialize in Qing Dynasty dramas have already started laying off employees."

"A normal phenomenon of market regulation."

Wang Sheng said calmly, "If a company can only survive by producing period dramas, it means there's a problem with its creative ability. Eliminating these outdated production methods will allow more creative teams to grow."

These words were spoken without any mercy, but all three people present knew that Wang Sheng had the confidence to say so.

Today, Shengying Media is no longer just a film and television company.

It holds a controlling stake in the largest cinema chain alliance in China, possesses a complete industrial chain encompassing production, distribution, and artist management, and has deep collaborations in Hollywood and Europe. More importantly, it represents the highest level of industrialization in the Chinese film industry and is a successful example of cultural "going global."

Such companies are qualified to set industry rules.

Li Si sighed: "That makes sense, but growing pains are inevitable. How about this, next month the TV drama department plans to hold a 'Historical Theme Creation Seminar,' inviting some experts, screenwriters, and producers to sit down and chat. Wang Sheng, you should come too, and share your thoughts with everyone."

"No problem," Wang Sheng readily agreed.

Director Zhang added, "The seminar should maintain a clear direction. It's not about 'banning' anything, but about encouraging 'creation'. The focus should be on discussing how to explore outstanding themes from historical periods such as the Han, Tang, Song, and Ming dynasties, and how to enhance the cultural connotation and artistic level of historical dramas."

Just then, the meeting secretary pushed open the door and came in: "Distinguished leaders, the symposium is about to begin."

"Let's go." Han Sanping stood up.

The four of them walked out of the tea room and headed towards the conference room.

In the corridor, Director Zhang whispered to Wang Sheng, "Have you submitted the script for your 'Changjin Lake' project for review yet?"

"The first draft will be completed by the end of the month, and will be submitted for review immediately upon completion."

"Hurry up. This year marks the 52nd anniversary of the victory in the War to Resist US Aggression and Aid Korea, as well as the centenary of Chinese cinema. If we can produce a high-quality war epic, it will be of great significance."

"I see."

……

The symposium was held in the largest conference room of the Film Bureau.

More than thirty people sat on either side of the long conference table.

In addition to relevant leaders from the Film Bureau and the State Administration of Radio and Television, there were also heads of state-owned film companies such as China Film Group and Shanghai Film Group, as well as representatives from the China Film Association and the China Film Critics Association.

Wang Sheng, as the chairman of Shengying Media and the producer of "Seoul Farewell", was arranged to sit next to Han Sanping, in a very conspicuous position.

The symposium officially began at 9:00 AM sharp.

The director of the Film Bureau spoke first: "Comrades, today's symposium will mainly discuss two topics. The first is the arrangements for activities celebrating the 100th anniversary of the birth of Chinese cinema; the second is, in light of the achievements of 'Seoul Farewell' at the Berlin Film Festival, we will explore how Chinese films can better reach the world."

He looked at Wang Sheng: "First of all, please let Chairman Wang Sheng of Shengying Media introduce the creative experience and international distribution of 'Seoul Farewell'."

Wang Sheng stood up and walked to the podium.

Without a script, he calmly spoke into the microphone: "I thank the bureau leaders for giving me this opportunity. The fact that 'Seoul Farewell' won the Berlin Golden Bear Award is first and foremost thanks to the guidance and support of the relevant authorities, and to the sincere cooperation between the Chinese and South Korean production teams."

"I believe there are several key factors contributing to the success of this film."

"First, the international nature of the subject matter. The film tells the story of a Korean family, but it explores global issues such as immigration, generation gap, and family responsibility. This creative approach of 'local story, global issues' allows audiences from different cultural backgrounds to resonate with it."

"Secondly, the production is excellent. We invited director Huo Jianqi to direct, and his delicate skills in portraying emotions have infused the film with soul. At the same time, the production teams from China and South Korea have achieved seamless technical cooperation, ensuring the artistic quality of the film."

"Thirdly, the professionalism of the distribution. The film's award in Berlin was not accidental, but rather built upon a meticulous international distribution strategy. We began contacting major European distributors six months in advance and developed a detailed film festival promotion plan..."

Wang Sheng's speech lasted for twenty minutes.

He neither exaggerated Sheng Ying's contributions nor avoided the challenges of international cooperation.

When discussing experience, one should be clear and organized; when discussing shortcomings, one should be frank and objective.

He concluded by saying, "The success of 'Seoul Farewell' proves that Chinese films are fully capable of producing world-class works. But this is just the beginning. For Chinese films to truly go global, they still need to continue investing in industrial systems, talent development, and international distribution networks."

"As a member of the industry, Shengying Media is willing to continue exploring in this area and contribute to the internationalization of Chinese films."

applause.

Next, the meeting moved into the discussion session for the centenary commemoration of Chinese cinema.

The director of the Arts Department of the Film Bureau presented a draft: "This year marks the 100th anniversary of the birth of Chinese cinema. We have initially drafted a series of commemorative activities, which mainly include the following aspects."

"First, the restoration and screening of classic films. The plan is to restore 100 classic works in the history of Chinese cinema and hold a '100 Classics in 100 Years' tour screening in cinemas across the country."

"Second, academic seminars and publications. We will hold the 'Centennial Academic Symposium on Chinese Cinema' and publish a series of works such as 'A General History of Chinese Cinema' (revised edition) and 'A History of the Development of Chinese Film Art'."

"Third, the commemorative meeting and commendation activities. On December 28, the anniversary of the birth of Chinese cinema, a commemorative meeting will be held in the Great Hall of the People to commend film workers who have made outstanding contributions to the development of Chinese cinema."

"Fourth, international exchange. Establish special sections on '100 Years of Chinese Cinema' at international film festivals such as Cannes, Venice, and Berlin to showcase the achievements of Chinese cinema over the past century to the world."

The director looked at the film company executives present: "These activities require the support and participation of various units in the industry. In particular, the restoration and screening of classic films require the support of the film libraries and technical cooperation of major film groups."

Han Sanping was the first to express his support: "China Film Group will fully support us. Our film archive preserves a large number of precious film reels. China Film Group can provide whatever funding and manpower is needed for the restoration work."

Ren Zhonglun also said, "Shanghai Film Group is also willing to participate. The Shanghai Film Museum, which we are currently building, can host some of the screenings."

When it was Wang Sheng's turn, he thought for a moment and said, "Shengying Media can do three things."

"First, financial support. We are willing to invest 5000 million yuan to establish the 'China Film Classics Restoration Special Fund', which will be used specifically for the digital restoration of old films."

"Secondly, technical support. Shengying's digital cinema base has the most advanced restoration equipment and technical team in China, and can provide technical support for restoration projects free of charge."

"Third, international promotion. Shengying has distribution networks and partnerships overseas, which can help the '100 Years, 100 Films' screening event go international, especially in the Asian and European markets."

Each of these three promises is a genuine commitment.

The 5000 million yuan special fund is undoubtedly a timely help for the film archive restoration work, which is facing a tight budget.

Technical support and international promotion are unique advantages of Shengying.

The director of the Film Bureau nodded repeatedly: "Good, Comrade Wang Sheng's statement carries a lot of weight. We will discuss the specific details of the cooperation in more detail after the meeting."

"..."

……

The next day.

The culture section of Guangming Daily published a commentator's article entitled "Historical Drama Creation Needs a Hundred Flowers Bloom - Starting with Sheng Ying's Adjustment of Creative Direction".

The article states: "Recently, a well-known film and television company adjusted its creative direction, reducing the production of dramas on the Qing Dynasty, which has attracted industry attention. Although this move is a voluntary action by the company, it reflects a thought-provoking question: In the creation of historical dramas, have we focused too much on a specific period, while neglecting other wonderful chapters in China's long history?"

"China has a five-thousand-year history of civilization, and each era has its own unique spirit and cultural achievements. The openness and inclusiveness of the Han and Tang dynasties, the elegance and refinement of the Song and Ming dynasties, the contention of a hundred schools of thought during the Spring and Autumn and Warring States periods... These rich historical resources should become a treasure trove for film and television creation."

"The current phenomenon of Qing Dynasty dramas dominating historical drama creation is certainly influenced by market factors, but it also reflects a limited creative vision. As a popular cultural product, film and television bear the responsibility of popularizing historical knowledge and disseminating cultural values. If the history that viewers learn through TV dramas is limited to the court struggles and official power struggles of the Qing Dynasty, then it is undoubtedly a one-sided interpretation of history."

"Encouraging the diversification of historical drama themes is not about denying the artistic value of Qing Dynasty dramas, but rather about hoping that creators will broaden their horizons and explore richer historical resources. This is both a respect for history and a responsibility to the audience."

The article concludes by saying, "The self-adjustment of enterprises may play a guiding role to some extent. But what we hope for more is that the entire industry can reach a consensus and achieve a true flourishing of diverse styles in the creation of historical dramas."

(End of this chapter)