Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 604, Section 602: A New Cooperation

The March winds are gradually becoming warm, and the willow branches in the capital are already showing new green.

3 month 5 day.

Accompanied by a group of entourage, Wang Sheng began inspecting the group's cultural tourism industry.

The first stop was the "Crossing the Guandong Film and Television City" in Shenyang.

This film and television base, covering 800 acres, has hosted the crew of the TV series "Crossing the Guandong" and more than ten other film crews since the completion and opening of its first phase. The second phase of the project was completed last autumn, adding a Republican-era street scene and a real-life Northeast forest farm area.

As the car entered the gate of the film city, Hou Jia, deputy director of the cultural tourism division of Shengying Group and general manager of Chuang Guandong Film City, was already waiting with a group of film city managers.

"Chairman Wang, welcome to the inspection."

Hou Jia greeted them with a smile.

"take it easy."

Wang Sheng got out of the car, shook hands with the monkey, looked around, and joked.

There weren't many tourists in the film studio; only a few tour groups were visiting under the guidance of their guides. Several extras dressed in Republic-era costumes were performing acrobatics at street stalls, attracting some people to take photos.

"What is the current average daily passenger flow?" Wang Sheng asked as he walked.

"We get around 500 people on weekdays and up to 1,200 on weekends," Hou Jia reported. "Ticket revenue is about 400,000 yuan per month, and film crews earn between 200,000 and 300,000 yuan per month from renting out the venue. With commissions from surrounding shops and restaurants, the entire film city's monthly revenue is around one million yuan."

"What about income and expenditure?"

"We barely broke even," Hou Jia said frankly. "The second phase of construction cost more than 80 million yuan, and the loan interest alone is more than 400,000 yuan per month. Add to that staff salaries, maintenance costs... to be honest, the payback period for cultural tourism projects is very long."

Wang Sheng nodded; this was exactly what he had expected.

In 2005, China's per capita GDP was just over $1700. The average family's annual disposable income was only a little over 10,000 yuan, and travel was still considered a luxury. Apart from holidays, few people would specifically spend money to visit film studios.

“In the long run, this project is valuable,” Wang Sheng said, standing in front of the replica of the Guandong-style inn. “But at this stage, we shouldn’t expand blindly. We should maintain the existing area well and improve service quality. We can cooperate deeply with local travel agencies to develop ‘film and television experience tours.’ In addition, we should organize more corporate team building activities and student study tours to generate non-ticket revenue.”

"Understood." Hou Jia wrote it down.

"Furthermore, the core of a film and television city is still 'film and television'," Wang Sheng emphasized. "We must provide the best service to film crews. Venue fees can be appropriately discounted, but in exchange, we must secure long-term cooperation from film crews. A popular film crew shooting here is itself the best advertisement."

"Yes."

The inspection lasted for two hours.

Wang Sheng toured the filming area, the logistics area, and the visitor service center, and also chatted randomly with several extras and shop owners.

Before leaving, he said to Hou Jia, "The cultural tourism industry is the future, but not now. We need to be patient and lay a solid foundation first. In another five or six years, when people have more money in their pockets, we will naturally usher in a period of explosive growth."

“I’ve got that, Mr. Wang.”

……

March 8, Huairou District, Beijing, Jackie Chan Happy Park.

Compared to the film and television city in Shenyang, this place is much more lively.

The three high-standard sound stages of the first phase of the project have all been put into use, and most of the interior scenes of "Havoc in Heaven" were filmed here.

The theme park portion of the second phase of the plan is still in the design stage and is expected to begin construction this year or next year.

The person in charge of the park is Liu Zhijun, deputy director of the cultural tourism division of Shengying Group, who used to work in a government office in Beijing.

"Chairman Wang, welcome to our inspection."

"Mr. Liu, thank you for your hard work." Wang Sheng shook hands with the other party.

The group entered the park.

Studio A is currently filming a period drama, Studio B is under set construction, and Studio C is empty, but cleaning staff are doing a deep cleaning—a Hollywood film crew is coming to visit the location tomorrow.

"Currently, the park's revenue mainly comes from shed rentals," Liu Zhijun explained. "The monthly rental income from the three sheds is around 1.5 million yuan. Including the supporting accommodation, catering, and equipment rentals, the total monthly income can reach 2.2 million yuan."

"What about the cost?"

"Personnel salaries, utilities, and maintenance cost about 1.8 million yuan per month," Liu Zhijun said. "So we have a net profit of about 400,000 yuan per month. Although it's not much, we've already achieved self-sufficiency."

Wang Sheng was very satisfied.

Jackie Chan Happy Park has a clear positioning: it's not a tourist attraction, but a professional film production base. As long as it can generate stable profits, it's considered a success.

"How's the theme park planning going?" Wang Sheng asked.

“The design team has already produced three versions of the plan.” Liu Zhijun took out a thick booklet. “But after our internal assessment, we believe that launching a theme park now is too risky. First, the investment is huge, requiring at least 500 million yuan; second, the domestic market is not yet mature, and it may take ten years to recoup the costs.”

"Don't worry about the money."

"Yes, everything follows the group's strategy."

……

From March 10 to 18, Wang Sheng began a nationwide "surprise inspection".

Our first stop was Shanghai, at China Film Grand Cinema - Zhengda Plaza.

This cinema, which opened at the end of 2003, is located in the core business district of Lujiazui in Pudong and has eight screens, including one IMAX screen.

Manager Zhang Wei is a young man in his early thirties. He graduated from the Management Department of Beijing Film Academy and has been with Shengying for three years.

"Chairman Wang, these are our operating data for last month," Zhang Wei said, handing over the report.

Wang Sheng checked the data: occupancy rate was 68%, monthly revenue per screen was 12.5 yuan, and member consumption accounted for 47%... all indicators were healthy.

How is the IMAX theater being used?

“Excellent,” Zhang Wei said excitedly. “During the release of ‘Havoc in Heaven,’ the IMAX theaters were almost always packed. Now, although it’s the off-season, the weekly IMAX screenings still maintain a 70% occupancy rate. Many viewers are willing to spend an extra 20 yuan to experience the giant screen effect.”

Wang Sheng nodded: "Technological leadership is the core competitiveness. We must continue to maintain and upgrade our equipment."

"Understood. We plan to introduce the Dolby Atmos system in the second half of the year, and it has already been submitted to headquarters for approval."

"I will have the technical department prioritize this."

Over the next few days, Wang Sheng conducted spot checks on seven cinemas in Hangzhou, Nanjing, Shenzhen, and Chengdu.

Overall, Shengying Cinemas' operational level is among the top tier in the industry. This is thanks to its standardized management system, advanced equipment investment, and the traffic generated by the "Maoyan" online seat selection system.

However, some problems were also discovered: some cinemas did not perform well in terms of non-ticket revenue (concessions, merchandise); some employees' service awareness needs to be improved; and one cinema had minor financial irregularities...

Wang Sheng did not get angry on the spot, but instead asked Li Tingting to record all the problems so that the audit department and operations department could handle them together when they got back.

"Discovering problems is not terrible; what is terrible is not discovering them," he said at an internal meeting. "We currently have more than 80 cinemas, and we aim to exceed 120 by the end of the year. The larger the scale, the more difficult it is to manage. We must establish a more stringent inspection and auditing system."

……

Xixi Wetland, Hangzhou, March 19.

The production team of "Running Man" is currently recording a new episode.

This outdoor competitive reality show, produced by Enlight Media's TV Content Division, quickly became a ratings champion on Hunan Satellite TV's Friday primetime slot since its premiere in March 2004.

The show does not currently have any permanent guests. Instead, artists from Shengying Group will take turns appearing on the show, and different celebrity guests will be invited each episode.

When Wang Sheng arrived, the production crew was filming the "name tag ripping" segment.

Producer Yao Yitian, a young man in his late twenties, ran over to greet him: "Chairman Wang, what brings you here? You didn't even tell me beforehand."

"Just passing by and taking a look," Wang Sheng said with a smile. "You guys keep filming, don't worry about me."

He stood behind the monitor and watched for a while.

The atmosphere at the scene was lively. Deng Chao and Li Xiaoran were in a group, chasing after Kim Hee-sun and Wang Baoqiang.

The cameraman carried the equipment and filmed, while the directing team coordinated via walkie-talkie.

"How are the ratings?" Wang Sheng asked Yao Yitian.

"It's remained stable at over 3.5%, ranking first in its time slot," Yao Yitian reported. "Advertising revenue is also considerable, with sponsorship fees now reaching 50 million yuan per quarter."

“Not bad.” Wang Sheng nodded. “However, we need to pay attention to two things: first, the program format needs to be constantly innovated, not the same old thing; second, the safety of the guests must be guaranteed, as this kind of high-intensity exercise can easily lead to injuries.” “We have a professional medical support team with us.”

"That's good."

Wang Sheng watched for more than an hour, and even acted as a "temporary referee" at one point, which drew cheers from the guests.

As he left, he told Yao Yitian, "Variety shows are an important part of the content ecosystem. You've done a great job, keep it up. The company will be evaluating performances at the end of the year, and I have high hopes for your team."

"Thank you, Chairman Wang!"

……

March 20, Hengdian World Studios.

Wang Sheng visited the sets of three film crews: a period film produced by Sheng Ying, an urban drama produced by Enlight Media, and a film co-produced with Shanghai Film Group.

In each film crew, he would have brief exchanges with the director and lead actors to understand the filming progress and difficulties, and resolve some resource coordination issues on-site.

……

After touring the area, Wang Sheng gained a clearer understanding of the overall operation of the Shengying Group.

Movies, TV series, variety shows, cinemas, cultural tourism... all sectors are developing healthily, forming a virtuous cycle.

But this is also the biggest challenge: the larger the scale, the more complex the management. A more modern and professional group control system must be established.

"The Star Trail Project needs to be accelerated," he told Li Tingting on the plane back to Beijing. "It's not just about artist ratings; all professional positions should be included. Directors, screenwriters, producers, technical workers... we need to form a scientific talent evaluation and incentive mechanism."

“The plan is already being finalized,” Li Tingting said. “Director Song said that the second version will be available by the end of the month.”

"it is good."

……

At 9:00 AM on March 22, at the Beijing Hotel Conference Center.

A red carpet was laid out, and the national flags of China and South Korea were hung side by side.

The venue was decorated in a solemn yet friendly manner.

Wang Sheng was dressed in a dark blue suit, white shirt, and dark red tie. He stood at the door, welcoming the delegation from the Korean Film Council along with officials including the deputy director of the Film Bureau and the director of the Foreign Affairs Department.

At 9:10, three black cars drove into the hotel courtyard.

The car door opened, and Kim Hong-soo, chairman of the Korean Film Council, was the first to get out.

He was around sixty years old, with gray hair, wearing gold-rimmed glasses, and had a refined and scholarly demeanor.

Next came the twenty-four members of the delegation: government officials, producers, directors, actors, scholars… Wang Sheng saw several familiar faces: director Park Chan-wook, actor Song Kang-ho, producer Lee Eun-ho…

"Chairman Kim, welcome to China." The deputy director of the Film Bureau stepped forward to shake hands.

"Thank you, it's a pleasure to be in the capital."

Both sides introduced themselves, shook hands, and exchanged business cards.

When it was Wang Sheng's turn, Kim Hong-soo paused for a few extra seconds: "Mr. Wang Sheng, I have long admired your name. The success of 'Seoul Farewell' in Berlin is an honor for the entire Asian film industry."

"You flatter me," Wang Sheng replied politely. "The realist tradition of Korean films has given us a lot of inspiration."

"I hope this visit will allow us to have a deeper exchange."

"must."

The welcoming ceremony was held in the lobby on the first floor of the conference center.

The deputy director of the Film Bureau delivered a welcome speech, reviewing the history of film exchanges between China and South Korea, and specifically mentioning the collaborative model of "Seoul Farewell".

Chairman Kim Hong-soo expressed his desire to strengthen cooperation and hoped to "jointly develop the future of Asian cinema".

After the ceremony, the delegation began its formal visit.

The first day involved a visit to China Film Group and the National Film Archive; the second day included a visit to Beijing Film Academy and exchanges with faculty and students; the third day involved a flight to Shanghai to visit Shanghai Film Group and the Film Museum; and the fourth day saw a return to Beijing, where visitors visited CCTV-6 (China Movie Channel) and the Beijing Film Publishing House…

Wang Sheng accompanied the participants throughout the first day's activities, and afterwards, his colleagues from the Film Bureau and China Film Group took care of his reception.

……

March 26, the last day of the visit.

At 9:00 a.m., the South Korean delegation arrived at the headquarters of Shengying Media Group in the Kyungshin Building.

Wang Sheng led his senior management team to greet them in the lobby on the first floor.

"Welcome everyone to Shengying." Wang Sheng gave a brief speech. "I hope that today's exchange will allow us to find more possibilities for cooperation."

The delegation visited Shengying's offices, editing room, and script development center, and also watched a documentary about the special effects production of "Havoc in Heaven".

At 10:30, the two sides held formal talks in the top-floor conference room.

On one side of the long conference table were the representatives from South Korea, and on the other side were the representatives from Shengying: Wang Sheng, Li Tingting, Song Xinmin, the director of the international department, the director of the film business department, etc.

Chairman Kim Hong-soo spoke first: "After these few days of visits, we have gained a deeper understanding of China's film industry. In particular, Sheng Ying Media's achievements in industrialization and internationalization are impressive."

“We also have a lot to learn from South Korea,” Wang Sheng said. “South Korean films’ exploration of genres and their depth of realism are worth studying.”

"So, what specific ideas does Mr. Wang Sheng have for future cooperation?"

Wang Sheng gestured to Li Tingting to turn on the projector.

A PowerPoint presentation appeared on the screen.

“Based on the strengths and needs of both parties, I suggest promoting cooperation on three levels.” Wang Sheng picked up a laser pointer. “First, technical exchange. Shengying’s digital film base can be opened to the Korean team, and we can jointly hold professional technical workshops on special effects, color grading, sound, etc.”

"Second, talent development. We can establish a 'China-South Korea Young Filmmakers Exchange Program,' sending ten directors, screenwriters, and producers to each other's countries for a three-month residency and creative work each year."

“Third, project collaboration.” Wang Sheng switched slides. “I propose to launch a film project, ‘Lost in Korea.’”

A murmur rippled through the room.

“Lost on Journey is a road comedy film released by Shengying in 2002, which achieved great box office success and critical acclaim in the Chinese market,” Wang Sheng explained. “This time, we want to internationalize this IP. The story tells of a pair of Chinese friends who travel to South Korea and encounter various embarrassing situations due to language barriers and cultural differences. In the end, with the help of their Korean friends, they complete a journey that is both hilarious and heartwarming.”

He paused for a moment, then said, "This film will be jointly invested in and produced by China and South Korea. The director team will consist of one person from China and one from South Korea, as will the screenwriting team."

"The film will be shot on location in both China and South Korea, with an estimated production cost of eight million US dollars," Wang Sheng continued. "Box office revenue will be shared according to the investment ratio, and the copyright will belong to Shengying Group. But more importantly, this film will serve as a vehicle for cultural exchange between China and South Korea, allowing Chinese audiences to better understand South Korea, and also allowing South Korean audiences to better understand China."

Chairman Kim Hong-soo pondered for a moment, then looked at producer Lee Eun-ho beside him.

Li Enhao asked, "Mr. Wang Sheng, what are the market expectations for this project?"

"Conservatively estimated, the box office in mainland China will be at least 300 million RMB, and the box office in South Korea should also reach 3 million viewers," Wang Sheng said. "More importantly, it can drive the development of the cultural and tourism industries in both countries."

This vision resonated with the South Korean filmmakers present.

Comedy is the genre that most easily transcends cultural barriers.

Creating a successful Asian comedy series would be a huge boost to the film industries of both countries.

After more than an hour of discussion, both parties reached a preliminary agreement on cooperation.

Specific details still require further negotiations, but the general direction has been determined: Shengying Media and the Korean Film Council will jointly promote the "Lost in Korea" project and use this as an opportunity to establish a long-term and comprehensive strategic partnership.

At noon, Wang Sheng hosted a banquet for the South Korean delegation at the Beijing Hotel.

The atmosphere at the banquet was much more relaxed. Filmmakers from both countries raised their glasses, exchanged creative insights, and discussed the future of the industry.

Chairman Kim Hong-soo raised his glass to Wang Sheng and said, "Mr. Wang Sheng, you are not only a successful filmmaker, but also a visionary industry strategist. It is a great fortune for Korean cinema to work with you."

"You flatter me, Chairman," Wang Sheng replied, raising his glass. "Film knows no borders. Only when Asian filmmakers unite can they make their voices heard more loudly in the global market."

"For the future of Asian cinema."

"For the future."

(End of this chapter)