Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 606, Section 604: The Script

Monday, January 2005, 4.

The curtains were drawn in the conference room on the top floor of the Jingxin Building.

Seventeen people sat on either side of the long conference table; these were all the core members of the "Olympic Project Team" directly under the Strategic Department of Shengying Media Group.

Over the past month, Strategic Director Song Xinmin has carefully selected and assembled a top-notch team from within the group and its partners, encompassing directors, screenwriters, stage designers, musicians, technicians, and planners.

Everyone signed the highest level of confidentiality agreement.

At 9:00 a.m. sharp, Wang Sheng pushed open the door and entered.

Upon reaching the head seat, without exchanging pleasantries, I immediately turned on the projector.

"Ladies and gentlemen, from today onwards, for the next three and a half years, your most important task is only one: to provide creative solutions for the opening and closing ceremonies of the 2008 Beijing Olympics, and strive to win the bid."

Wang Sheng's voice was calm yet powerful.

A line of large characters appeared on the screen: "2008·Beijing·World Dream".

"Let me start by outlining a few principles," Wang Sheng said, switching between slides. "First, we must adhere to the three core concepts of a 'Green Olympics, a Technological Olympics, and a People-Oriented Olympics.' This isn't just a slogan; it needs to be translated into concrete artistic language."

"Second, it should reflect Chinese style, but not simply be a collection of symbols. The Great Wall, the Terracotta Army, Peking Opera masks... these elements should be used, but they should be used skillfully and innovatively. The goal is to show the world a confident, open, and modern Eastern power, not a China in a museum."

"Third, the human touch. The Olympics is a grand event for people. The opening ceremony cannot just be a grand narrative; it must have human warmth—the smiling faces of ordinary Chinese people, the sweat of volunteers, and the moments of athletes' struggle. These details are often more touching than the grand spectacle."

The only sound in the meeting room was the scratching of pens on paper.

Wang Sheng paused, his gaze sweeping over everyone present: "Fourth, the spirit of the times. It's 2005 now. What will China be like in 2008? I think it will be more prosperous, more confident, and more integrated into the world. Our opening ceremony should showcase this spirit of the times—not nostalgia, but forward-looking vision."

He took a sip of water and continued, "Based on these principles, I would like to propose a few strategic creative directions for everyone to discuss."

The screen switches to the first concept image: a bird's nest in the night sky, with glittering star trails above it.

“The opening countdown,” Wang Sheng said. “Traditional countdowns are just numbers, which is too conventional. I suggest using 2,008 ‘fou’—an ancient Chinese percussion instrument—to form a square formation. 2,008 musicians will count down from 60 seconds to 0 seconds by striking the fou. Each strike will light up a number on the fou. With the last strike, all the lights in the venue will suddenly come on.”

The stage design director's eyes lit up: "The combination of sound, light, and digital technology... this idea is very impactful."

“It’s not just about the impact,” Wang Sheng said. “The gu (缶) is an ancient musical instrument, but presenting it using modern optoelectronic technology is itself a dialogue between tradition and modernity. Moreover, the number 2008 corresponds exactly to the year 2008.”

The music director raised his hand: "Chairman Wang, the sound of the jar is rather monotonous. Won't sixty seconds of continuous striking become monotonous?"

"We can design rhythm changes. The first thirty seconds are soothing, like a heartbeat; the middle twenty seconds are faster, like a pulse; and the last ten seconds are rapid, like a sprint. Combine this with changes in lighting, from dark to bright, from cool to warm tones, to create a sense of anticipation and tension."

Everyone took notes.

The second concept art: a giant scroll slowly unfurls in the center of the venue.

“I suggest that the main structure of the opening ceremony be based on a ‘scroll’,” Wang Sheng said. “Ancient China had the ‘A Thousand Miles of Rivers and Mountains’ painting; let’s create a ‘Long Scroll of Chinese Civilization.’ But this painting is not static—it is alive.”

He described it in detail: "The scroll was made using LED screen technology and covered the entire central performance area. It opened with ink and wash landscapes, representing ancient China; then the colors gradually became richer, showing camel caravans on the Silk Road, dancers flying apsaras in Dunhuang, and the artistic conception of Tang and Song poetry; then it showed the awakening of modern times and the rise of modern times... Finally, the scroll showed a route map of athletes from various countries entering the stadium, symbolizing China going to the world and the world coming to China."

The head of the directing team pondered: "This 'scroll-like narrative' is very novel, but it's technically very difficult to implement. The LED screen needs to be able to support the actors' performances, and it also needs to be waterproof, slip-resistant, and load-bearing..."

“Leave the technical issues to the technical team.” Wang Sheng looked at the engineers sitting in the corner. “What I want is for the creative ideas to break through first, and the technology to catch up later. If the existing technology can’t do it, we’ll develop new technologies. Isn’t the cooperation between Shengying Digital Base and Babelsburg for this kind of situation?”

The technical director nodded solemnly: "We will conduct a feasibility assessment as soon as possible."

The third concept art depicts countless dancers in glowing costumes forming ever-changing patterns.

“Group performances need to be innovative,” Wang Sheng said. “We shouldn’t rely on sheer numbers; we need an ‘intelligent matrix.’ Each performer has a programmable LED light that can change formations, colors, and patterns in real time through a central control system. For example, it can instantly transform from the Great Wall of China into the Olympic rings, or from the starry sky into the Earth.”

He added, "Moreover, these performers are not all professional dancers. Ordinary students, workers, and farmers can be selected from all over the country, trained, and then participate. Putting ordinary people at the center of the world stage is the true meaning of a 'humanistic Olympics'."

Someone from the planning team asked, "Chairman Wang, do you have any ideas about the lighting ceremony?"

Wang Sheng remained silent for a few seconds.

“The lighting ceremony is the climax of the opening ceremony,” Wang Sheng said slowly. “I suggest that the torchbearers run on the ‘rim’ of the Bird’s Nest at the top—not a flat track, but an inclined, three-dimensional track that surrounds the stadium.”

He drew a diagram: "The torchbearer holds the torch and runs in a circle in the air. Behind him, the trail he runs will light up with a band of flame. When he reaches the main cauldron, he uses the torch to light the fuse, and the flame spreads rapidly along the band of light, finally igniting the main cauldron."

A collective gasp filled the conference room.

"This...this requires extremely sophisticated technical support and absolute safety guarantees." The technical director's voice trembled slightly. "It's incredibly difficult to make people run on an inclined track while maintaining aesthetic appeal."

"That's why I call it a 'strategic direction'," Wang Sheng said calmly. "You need to refine the specifics for its implementation. But remember, the Olympic opening ceremony is about doing things that no one has done before, or even dared to think of. The underwater torch lighting in Sydney in 2000, the countdown return in Athens in 2004... every Games must have a landmark breakthrough. In Beijing in 2008, this breakthrough must be created by China."

The meeting lasted until noon.

Wang Sheng concluded: "Over the next three months, each department will work separately to refine the plans. The directing team will produce scene-by-scene scripts, the stage design team will create renderings, the technical team will develop feasibility studies, and the music team will begin composing the theme melody. By the end of June, I want to see a complete draft of the creative plan."

He stood up: "This is a battle with no turning back. If we win, Shengying will be recorded in history; if we fail, we will still be proud to have participated. But the word 'failure' does not exist in my dictionary."

……

Monday, October 4.

Shanghai, Lujiazui Financial District, Jin Mao Tower, 42nd floor. This is the newly opened "China Office of the Organizing Committee of the Chinese American Film Festival (SAIFF)".

The twelve core managers who moved from San Francisco, along with twenty newly recruited office staff from China, are busy setting up workstations and testing equipment.

Wang Sheng arrived at 10:00 AM.

He first visited the office area.

The nearly 500-square-meter open space is divided into areas such as the investment promotion department, exhibition department, publicity department, marketing department, and external relations department.

On the wall hang photos of the first film festival in Los Angeles, as well as a countdown clock for the second festival: 219 days until the festival opens.

In the conference room, Su Yantao, executive director of the organizing committee, Zhu Yongde (appointed by the General Administration of Sport), the Chinese co-director, and heads of various departments were already seated.

"Thank you all for your hard work." Wang Sheng sat down in the main seat. "From today onwards, SAIFF's era in China officially begins."

Su Yantao first reported on the relocation: "All equipment and documents have been successfully delivered, and personnel have been settled. Twelve members of the American team will be stationed in Shanghai, and the rest will arrive in batches during the film festival. According to the plan, the second SAIFF will be held in Shanghai from November 15 to 25, 2005, with the main venue at the Shanghai Grand Theatre and screenings in twenty cinemas throughout the city."

Zhu Yongde added: "The Shanghai Municipal Government attaches great importance to this and has established a special coordination group for the film festival. The public security, culture and tourism, publicity, and foreign affairs departments will cooperate. Logistical support such as accommodation, transportation, and security has been arranged."

Wang Sheng nodded and glanced at the agenda in front of him: "Today's meeting has three key points: first, the overall positioning of the second film festival; second, the specific progress of preparations; and third, the issues that need to be addressed."

He looked at the curatorial director: "Let's talk about the film list first."

The director opened the folder: "As of April 9th, a total of 312 films have been submitted worldwide, including 86 domestic films, 74 American films, 98 European films, and 54 films from other Asian regions. The main competition is planned to include 16 films, and 35 candidates have been preliminarily selected."

How's the quality?

“There’s been a significant improvement over the first edition,” the director said excitedly. “We have received submissions from several award-winning films from Cannes, Venice, and Berlin, including ‘Seoul Farewell,’ which just won the Golden Bear. On the Hollywood side, the directors of ‘Million Dollar Baby’ and ‘Sideways’ have expressed their willingness to bring their new works to the competition.”

Wang Sheng pondered for a moment and said, "The main competition section needs to balance artistry and representativeness. It should include works by masters, but also give opportunities to newcomers. In particular, Asian films should be given appropriate consideration—SAIFF is based in China and the United States, but its vision should cover the whole world."

He turned to the marketing department: "How's the preparation for the film trading market going?"

“Currently, 68 international distributors and production companies have confirmed their participation, including our old friends such as New Line Cinema, Focus Features, Pathé, and Shochiku. Domestic companies such as China Film Group, Shanghai Film Group, Huayi Brothers Media Group, and Enlight Media will also have booths,” said the Marketing Director. “We plan to set up a ‘China-US Co-production Project Negotiation Area’ and have already received applications from 23 projects.”

“Very good.” Wang Sheng looked at everyone. “Now I will talk about a few points of work direction, which the leaders of the General Administration have particularly emphasized.”

Everyone picked up a pen.

"First, we must keep the political direction steady," Wang Sheng said seriously. "The film festival is a platform for cultural exchange, not a political stage. All participating films must comply with Chinese laws and regulations and respect Chinese cultural traditions. The curatorial department must strictly control the selection process, and if there are any uncertainties, they should be reported to the organizing committee for collective discussion."

"Secondly, the artistic standards need to be raised. For SAIFF to become a top-tier film festival in Asia, the jury must be authoritative. Director Ang Lee has already agreed to serve as the jury president, and other jury members are being negotiated, including at least two Oscar judges, three judges from the three major European film festivals, and heavyweight figures from the Chinese film industry."

"Third, the industry function needs to be strengthened." He continued, "Film festivals cannot just stop at screenings and awards; they must truly promote industry development. The film market must be practical and facilitate transactions; industry forums should invite frontline practitioners to discuss real issues; and the new talent investment and financing unit should provide real funding to support the landing of good projects."

"Fourth, public participation needs to be expanded," Wang Sheng emphasized. "The film festival is not just a gathering for industry professionals; we need to involve ordinary citizens. The 'Citizens' Film Week' should select good films and set low prices; the 'Film Master Class' should open some places to the public; and the youth film summer camp should be unique. We want to make SAIFF a cultural festival in Shanghai."

Zhu Yongde interjected: "Chairman Wang, regarding the opening ceremony red carpet and the invitation of celebrities..."

"The red carpet should be glamorous, but it should also be classy," Wang Sheng said. "We will give priority to inviting directors and actors whose works have been nominated; we can invite A-list Hollywood stars, but they must come with works and not just walk the runway. Domestically, artists from Shengying Group and Shanghai Film Group will give their full support. In addition, we can try to invite some cross-disciplinary celebrities from the sports and cultural fields—Olympic champions, writers, musicians, etc.—to reflect diversity."

The meeting lasted for two hours.

Finally, Wang Sheng summarized: "The second SAIFF has three goals: first, to establish a brand internationally; second, to promote substantive cooperation between Chinese and American films; and third, to cultivate China's own film festival operation team. The establishment of the Shanghai office signifies that SAIFF is shifting from 'borrowing a boat to go to sea' to 'building a boat to sail far.' Everyone has a heavy responsibility on their shoulders."

He stood up: "There are still seven months until the film festival opens. Time is tight and the task is heavy. But I believe that with the support of the Shanghai Municipal Government and everyone's efforts, the second SAIFF will be more successful and more exciting than the first one."

……

Saturday, April 4.

Wang Sheng is reading the script for "Lost in Korea".

The overall direction continues the road comedy style of the first film, telling the story of Wang Bao (played by Wang Baoqiang), a small Chinese boss, and his childhood friend Li Chenggong (played by Huang Bo) who go to South Korea to participate in business activities. However, due to language barriers and cultural differences, they encounter a series of funny situations. In the end, with the help of a Korean girl named Kim Mi-sun (played by Kim Hee-sun), they not only complete their mission but also gain friendship and understanding.

The story unfolds along three lines:

The main storyline follows Wang Bao and Li Chenggong's hilarious adventures—starting with taking the wrong luggage at Incheon Airport, then getting on the wrong subway, making a fool of themselves by ordering food, and being mistaken for a suspicious person in a sauna... The jokes are plentiful but not vulgar, and each embarrassing situation stems from real cultural differences.

The subplot is about Kim Mi-sun—a Chinese-Korean girl working in Seoul. She appears cheerful but faces an identity crisis: in the eyes of Koreans, she is "Chinese," while in the eyes of Chinese people, she has a "Korean style." Through helping Wang Bao and his companion, she re-examines her cultural belonging.

The underlying plot is a business conspiracy—the South Korean client Wang Bao is meeting is a competitor of Kim Mi-sun's company. Ultimately, relying on Chinese wisdom and integrity, Wang Bao not only resolves the crisis but also facilitates cooperation between China and South Korea.

Wang Sheng looked at it very carefully, occasionally writing or drawing on the script.

The writing team did a lot of research on the humor.

For example, when Wang Bao was ordering food at a Korean restaurant, he pointed to the "" (grilled meat) on the menu and said, "Give me one of this 'bulaji'," and the waiter looked blank; for example, when Li Chenggong was in a sauna, he tried to imitate Koreans by folding a towel into a sheep horn hat and putting it on his head, but because his head was too big, he tore the towel...

The cultural clashes were also handled skillfully. In one scene, Wang Bao bowed to a Korean client to show friendliness, but because he didn't understand the etiquette of bowing (Koreans have specific rules about hand placement and the degree of bending when bowing), a misunderstanding arose. Later, Kim Mi-sun explained, "In Korea, bowing isn't about how low you bend; it depends on the person and the occasion. You bow deeply to elders, but only slightly to peers."

Wang Sheng noticed that the script also incorporated elements from 2005: Wang Bao uses a flip phone and searches for an internet cafe on the streets of Seoul; Li Chenggong remarks, "The subway in Korea is so clean, much better than in Beijing"; Kim Mi-sun takes them to Han River Park and says, "There are many couples here at night, just like the Huangpu River in Shanghai"...

Seeing the final scene—Wang Bao, Li Chenggong, and Jin Meishan saying goodbye at Incheon Airport, Wang Bao said "(thank you)" in his newly learned Korean, Jin Meishan replied in Chinese "Have a safe journey," and Li Chenggong jokingly said in Chinglish "See you tomorrow"...

(End of this chapter)