Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 605-603: Special Guest

the other side.

March 25, 2005, Friday evening.

The North American spring season has historically been considered a relatively slow season for the film market.

The summer movie season hasn't even started yet, and the awards season's heat has already subsided.

However, on the last weekend of March this year, several films with very different styles were released in North American theaters at the same time.

Among them, the most attention-grabbing is Robert Rodriguez's dark and violent aesthetic film "Sin City," adapted from Frank Miller's comic book of the same name. This work has attracted a large number of cult film fans with its unique visual style and all-star cast.

Also released on the same day was Blue Sky Studios' 3D animated film "Robots," targeting the family audience market.

In addition to these two films, a fantasy epic from China has also quietly appeared on 1200 screens in North America.

Havoc in Heaven.

New Line Cinema is responsible for North American distribution, and Shengying Media and China Film Group are co-produced.

AMC theater in Westwood, Los Angeles.

At 7:30 p.m., a long queue had already formed outside the largest IMAX theater.

There were Asian faces in the crowd, but there were many more curious Western spectators.

"I heard that the special effects in this movie are amazing. It won the Best Visual Arts Award at the China-US International Film Festival last year."

"I have read the English version of Journey to the West, and the story of Sun Wukong is very interesting."

"The trailer for the new line is so cool, the designs of those celestial warriors..."

The audience members were talking in hushed tones.

In the cinema lobby, there is a three-meter-tall 3D display board of Sun Wukong holding the golden cudgel, with the movie trailer playing on a loop: the magnificence of the Peach Banquet, the grandeur of the Heavenly Court, and the magnificent scene of Sun Wukong fighting against 100,000 heavenly soldiers and generals, finally freezing on the words "From the Director of 'Night at the Museum'".

This is the cleverness of New Line Cinema's publicity strategy—instead of mentioning "Chinese film," they emphasize "the new work by the director of Night at the Museum."

Wang Sheng's established reputation in North America serves as the best endorsement for the brand.

The screening room was packed.

As the lights dimmed, the dragon logo, along with the logos of Shengying Media and China Film Group, appeared in turn, followed by the logo of New Line Cinema.

The movie starts.

Within the first five minutes, the spectacular Water Curtain Cave of Flower and Fruit Mountain had the audience breathless. The waterfall, created with digital technology, cascaded like a silver river, and groups of monkeys leaped between cliffs. Liu Xiao Ling Tong, playing Sun Wukong, hatched from a stone egg—his eyes possessed the agility of a monkey, the wit of a human, and the majesty of a god.

The design of the Heavenly Court is even more breathtaking.

Art director Huo Tingxiao's team drew inspiration from Dunhuang murals, Yongle Palace murals, and Tang and Song dynasty meticulous paintings, while also incorporating digital landscape painting and miniature modeling techniques.

The Lingxiao Palace is not a cold stone building, but a golden palace complex suspended above the sea of ​​clouds. The coiled dragon patterns on the pillars seem to rise into the air at any moment in the light and shadow.

The Jade Emperor's appearance abandons the traditional white-faced, long-bearded image of opera, and is instead played by veteran actor Liu Jinsong—an actor who often plays Zhou Enlai in historical dramas, who naturally exudes a dignified and imposing aura.

Wang Sheng's requirement was: "The Jade Emperor is not a tyrant, but a maintainer of order. He wants the audience to understand why Sun Wukong must be suppressed."

Sure enough, when Sun Wukong wreaked havoc in the Heavenly Palace because he was not invited to the Peach Banquet, the audience's emotions were complex.

On the one hand, we applaud Sun Wukong's freedom and unbridled nature; on the other hand, we can understand the necessity for the Heavenly Court to maintain the rules.

This complexity is exactly what Wang Sheng wanted.

“Western audiences simply enjoy the spectacle of the Monkey King causing havoc in Heaven,” Wang Sheng told Xu Ke at a pre-planning meeting. “But we want them to see something deeper—the conflict between individual freedom and collective order, and the confrontation between the gifted and the established rules. This is a universal theme for humanity.”

The climax of the movie is the great battle between Sun Wukong and 100,000 heavenly soldiers and generals.

This scene utilized all the CG resources of Shengying Digital Cinema Base.

Tsui Hark and Wang Sheng personally supervised the production, referencing the Battle of Gondor in "The Lord of the Rings" and the space battles in "Star Wars," but all the fighting styles were purely Eastern—flying through the clouds, seventy-two transformations, and magical artifact battles.

Nezha is not a boy riding on wind-fire wheels, but a war god with three heads and six arms and a cold face.

The duel between Yang Jian and Sun Wukong, who both transformed into eagles and snakes, tigers and deer, dragons and phoenixes, unfolded an unpredictable battle in the clouds.

The most shocking part is the scene where Sun Wukong is thrown into Laozi's alchemy furnace.

The birth of Sun Wukong, who could emit smoke from his seven orifices and possess fiery eyes, was portrayed as a painful yet magnificent transformation. When Sun Wukong kicked over the alchemy furnace and returned to Heaven engulfed in flames, gasps of astonishment echoed through the IMAX theater.

The two-hour movie ends with the scene where the Buddha's five fingers transform into the Five Elements Mountain to suppress Sun Wukong.

There was no hint of a sequel, no happy ending. Sun Wukong was imprisoned under the Five Elements Mountain, only his unyielding face visible, his eyes still burning with fire.

When the credits rolled, the entire audience was silent for three seconds before erupting in enthusiastic applause.

"This is completely different from the Chinese film I imagined..."

"The visual effects are better than many Hollywood blockbusters."

"The story is very powerful. Sun Wukong lost in the end, but I admire him even more."

As the show ended, the audience members were engaged in lively discussion.

New Line Cinema's market research team quietly recorded this feedback. A middle-aged analyst told a colleague, "This film has potential. Although it's not a mainstream genre, the production quality is too high, and the Sun Wukong IP has a recognition base in the West."

The data was quickly compiled and sent to the new line headquarters.

……

Beijing time, March 26th afternoon.

While "Havoc in Heaven" sparked its first wave of moviegoing frenzy in North America, domestic media focused on a different story.

The headline of the culture section of the Beijing Evening News reads: "Shengying Media joins hands with South Korea's Taewon Entertainment to launch a Sino-Korean co-production version of the 'Lost in Thailand' series."

The article writes:

Following the Golden Bear win of "Seoul Farewell" at the Berlin International Film Festival, Sino-Korean film cooperation has yielded another new result. Yesterday, Shengying Media Group and South Korea's Taewon Entertainment jointly announced in Beijing that they will co-produce the film "Lost in Korea." This is the second installment in Shengying's well-known comedy IP series "Lost in Korea," and also the first internationally co-produced film in the series.

It is reported that "Lost in Korea" will continue the series' road trip comedy style, telling the story of a pair of Chinese friends who travel to South Korea and encounter various embarrassing situations due to language barriers and cultural differences. Ultimately, with the help of their Korean friends, they complete a hilarious and heartwarming journey. The film is a joint investment and production between China and South Korea, with the directing and screenwriting teams composed of filmmakers from both countries.

At the press conference, Sheng Ying Media spokesperson Li Tingting stated: "Film is a language for communication between the world. 'Lost in Korea' is not only a comedy film, but also another bridge for cross-cultural exchange built through film. We hope that through this film, Chinese audiences can gain a more direct understanding of Korean customs and culture, and Korean audiences can also see the spirit of contemporary Chinese youth."

The report details the project:
Production cost: US$800 million (approximately RMB6400 million).

Director: Wu Yiyi, who directed the first "Lost in Thailand" film, will continue to direct.

Screenwriting: Led by Sheng Ying's screenwriting team, with participation from Korean screenwriters.

Actors: Wang Baoqiang, etc.

Filming locations: Seoul, Jeju Island, and Beijing.

Release schedule: Simultaneous release in China and South Korea during the 2006 Chinese New Year period.

The Beijing Evening News, on the other hand, focused more on industry analysis:

"The first 'Lost on Journey' film was released in 2002, grossing 800 million yuan on a budget of 1.2 million yuan, becoming a dark horse among domestic comedies that year. The film pioneered the 'awkward comedy' genre, cleverly combining the awkwardness and warmth of ordinary people's journeys, which was deeply loved by audiences. This Sino-Korean co-production marks a new stage in Shengying Media's IP development towards internationalization. Group Chairman Wang Sheng has repeatedly stated that for Chinese films to 'go global,' they cannot rely solely on art films winning awards at film festivals; they also need commercial genre films to achieve success in the global market. 'Lost on Journey: Korea' is clearly an important attempt in this direction."

It's worth noting that the collaboration model for this project differs from that of *Seoul Farewell*. *Seoul Farewell* saw the Chinese side lead the creative and production teams, while the South Korean side provided localization support; whereas *Lost in Korea* is a truly equal collaboration, reflecting the principle of equality in both investment ratios and the creative team. This model may become the mainstream for future Sino-Korean co-productions.

Online media reacts faster.

Sina Entertainment featured a news flash on its homepage, accompanied by a photo of the signing ceremony between Shengying Media and Taiyuan Entertainment. Wang Sheng and Zheng Taiyuan shook hands, with the Chinese and South Korean national flags behind them.

NetEase Entertainment created a special page outlining the development of the "Lost in Thailand" IP and launched a poll: "Who would you like to see star in 'Lost in Thailand: Korea'?" Options included Huang Bo, Wang Baoqiang, Deng Chao, and others. Within hours, the number of voters exceeded 100,000.

In the Maoyan Movies community, related discussion posts quickly became popular.

A user named "Comedy Lover" posted: "Finally! 'Lost in Thailand' is my favorite domestic comedy, bar none. I hope the second one maintains the same level of quality and doesn't lose its original flavor just because it's a co-production."

User "Korean Wave Observer" commented: "There is actually a great market for Sino-Korean co-productions of comedies. Koreans and Chinese people have similar senses of humor, both being the kind of down-to-earth, self-deprecating comedy. If the script is solid and the actors are well-chosen, it might become the Asian version of 'The Hangover'."

Some users also expressed concerns: "The most common problem with co-productions is that they become 'neither fish nor fowl'—neither Chinese nor Korean films. I hope Sheng Ying can keep a firm grip on the core creative concept."

These discussions were recorded in real time by Shengying Media's Public Opinion Monitoring Department.

……

The time comes on June 4th.

The General Administration Building, third-floor conference room.

At 9:00 a.m. sharp, the preparatory meeting for the second SAIFF (Chinese American International Film Festival) to be held in China officially began.

Attendees included relevant leaders from the Film Bureau, the Foreign Affairs Department, and the International Exchange Department; Han Sanping, Chairman of China Film Group; Ren Zhonglun, Chairman of Shanghai Film Group; and Wang Sheng, Chairman of the Organizing Committee of the China-US International Film Festival, and his team.

The deputy director of the Film Bureau chaired the meeting: "Comrades, the main topic of today's meeting is to study the various preparatory work for holding the Second China-US International Film Festival in China. First, I would like to invite Comrade Wang Sheng to introduce the overall concept and preliminary plan of the film festival."

Wang Sheng stood up and walked to the podium. He was wearing a light gray suit today, without a tie, which made him look capable yet approachable.

"Distinguished leaders and colleagues, thank you for attending." He opened his laptop, and the film festival logo appeared on the projection screen—a golden angel with outstretched wings, circling film reels and olive branches.

"The first China-US International Film Festival was successfully held in Los Angeles last November, with 86 films from 12 countries participating and 16 films shortlisted for the main competition. The festival received high recognition from the film industries of both China and the United States and also received extensive media coverage."

He switched slides, displaying a series of data: number of moviegoers, media coverage, social media buzz, and contract signing amounts...

"Based on the success of the first edition, the second film festival will be held in China. This is not only a change in geographical location, but also a deepening and expansion of the festival's content."

Wang Sheng paused for a moment, his gaze sweeping across the entire room:

"Our overall goal is to make the second China-US International Film Festival one of the most influential international film festivals in Asia, to build a main platform for film exchanges between China and the United States, and to radiate throughout the Asia-Pacific region."

Next, he detailed the specific arrangements:

First, the time and place.

The festival was scheduled to be held from November 15 to November 25, 2005, with the main venue in Shanghai. Shanghai was chosen based on three considerations: first, as an international metropolis, Shanghai has well-developed infrastructure and strong reception capacity; second, Shanghai Film Group is the Chinese co-organizer of the film festival and has extensive experience in international events; and third, Shanghai will host the Special Olympics in 2006, and the film festival can help warm up the city's international atmosphere.

Second, unit settings.

In addition to retaining the main competition section of the first "Golden Angel Award," the "Film Market," the "Industry Forum," and the "New Talent Venture Capital Forum," two new sections have been added:
The "World Cinema Section" showcases outstanding films from Europe, Asia, and Latin America, especially those that have not yet entered the Chinese market.

The "Asian New Forces" section focuses on the debut or second film of young Asian directors and includes the "Asian Cinema Future Award".

Third, the review mechanism.

The main competition jury consists of seven members: three from China, two from the United States, and two from other countries and regions. Wang Sheng proposed inviting Ang Lee to serve as the jury president—this director transcends Chinese and American cultures, possesses international prestige, and understands Chinese cinema.

"We've already made initial contact, and director Ang Lee has expressed interest, but he needs to see a more detailed proposal," Wang Sheng said.

Fourth, the opening ceremony and the red carpet.

The opening ceremony is scheduled to be held at the Shanghai Grand Theatre, and the red carpet event will feature top stars from both China and the United States. Wang Sheng emphasized, "The red carpet is not a fashion show, but a gathering of filmmakers. We want to invite filmmakers who truly have works and influence, not just celebrities walking the runway."

Fifth, industry sectors.

The film market will establish a "China-US Co-production Project Negotiation Area" to provide a platform for face-to-face exchanges between production companies with cooperation intentions. The industry forum's theme is tentatively set as "The Film Industry in the Digital Age: Challenges and Opportunities," and it plans to invite technical directors from the six major Hollywood studios, Chinese film technology experts, and representatives from internet platforms to participate.

Sixth, public activities.

The plan includes hosting "Film Master Classes," inviting renowned Chinese and American directors, screenwriters, and producers to give lectures; "Citizens' Film Week," screening 100 classic Chinese and foreign films in 20 cinemas across the city with discounted tickets; and "Youth Film Summer Camp," organizing middle school students to participate in short film shooting and film review writing.

Seventh, publicity and promotion.

Domestically, the entire event will be covered by CCTV Movie Channel, Sina, Sohu, NetEase, and other media outlets. Internationally, cooperation agreements have been reached with professional media such as The Hollywood Reporter, Variety, and Screen International. Promotional booths will also be set up in ten international cities including New York, Los Angeles, London, Paris, and Tokyo.

Eighth, budget.

The initial budget is 8000 million RMB, of which Shengying Media will contribute 3000 million RMB, Shanghai Film Group 2000 million RMB, the Film Bureau's special fund 1500 million RMB, the Shanghai Cultural Development Fund 1000 million RMB, and corporate sponsorship 500 million RMB. All fund usage will be subject to third-party auditing to ensure transparency.

Wang Sheng's presentation lasted for forty minutes, and was well-organized and detailed.

When he finished speaking, applause rang out in the conference room.

The Director of the Foreign Affairs Department spoke first: "Comrade Wang Sheng's proposal is very comprehensive, and I agree with it in principle. In particular, the addition of the 'World Cinema Section' and the 'Asian Emerging Forces Section' reflects the film festival's international vision and support for young filmmakers. This is excellent."

The director of the Film Bureau's Arts Division raised a question: "How should the issue of censorship for imported films be resolved? According to current regulations, all films publicly screened in China must pass content censorship."

“We have already considered this issue,” Wang Sheng replied. “The films screened at the film festival will be divided into two categories: one is ‘competition and screening films,’ which need to be submitted for review, but the film festival organizing committee will set up a special ‘content advisory committee’ to invite senior filmmakers and scholars to participate in the review, provide professional opinions, and assist the film companies in making necessary revisions; the other category is ‘market screening films,’ which are only screened within the film market for industry professionals and are not open to the public. These films do not need to be reviewed.”

He added, "This is actually an attempt to promote a film rating system. Through the film festival platform, we can explore more flexible and professional content management methods."

Han Sanping nodded: "That's the right idea. Film festivals shouldn't just be about creating excitement; they should be a testing ground for industry reforms."

Ren Zhonglun continued, "Shanghai is fully supportive. The municipal government has already held a coordination meeting, and departments such as public security, transportation, culture and tourism, and publicity will cooperate. The schedule for the Shanghai Grand Theatre can be guaranteed, and we have also negotiated group rates with the surrounding five-star hotels."

The meeting moved into the detailed discussion phase.

The International Exchange Department is concerned about the standards for receiving foreign guests, the Film Bureau is focused on guiding public opinion, and China Film Group has suggested adding a "Domestic Film Promotion Unit"...

Wang Sheng responded to each point, insisting on what should be insisted on and compromising where compromise is necessary.

By 11:30 a.m., the main issues had been basically settled.

The deputy director of the Film Bureau concluded by saying, “Today’s meeting was very successful, and the plan is basically finalized. After the meeting, please ask the organizing committee to revise and improve it based on the discussion, and submit the formal plan for approval next week. All departments should cooperate fully to ensure the complete success of the 2nd China-US International Film Festival. This is not only a cultural event, but also an important window to showcase the achievements of the Chinese film industry and promote cultural exchanges between China and foreign countries.”

After the meeting, Wang Sheng was asked to stay behind by several leaders.

The Director of the Foreign Affairs Department whispered to him, "Wang Sheng, there may be some 'special guests' coming during the film festival."

Wang Sheng understood immediately: "You mean..."

“Filmmakers from the other side of the strait,” the director said. “Recently, there have been signs of easing tensions across the strait, and cultural exchanges are a great starting point. If filmmakers from Taiwan can participate, or even bring their works, it will be of great significance.”

“I understand.” Wang Sheng nodded. “We will send out invitations through unofficial channels. It’s not about… it’s purely a film exchange.”

"Maintain a proper sense of proportion."

"Yes……"

(End of this chapter)