Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 610, Section 608: A Century of Cinema

As autumn deepened in 2005, the Chinese film market remained as hot as ever.

Like a dark horse that suddenly appeared out of nowhere, "Crazy Stone" broke through the fierce competition during the National Day holiday. Its box office trend not only did not slow down, but continued to rise as word of mouth spread.

On October 15th, the film's sixteenth day of release, its box office revenue surpassed 300 million yuan.

On October 22, the film grossed over 10 million yuan on its 4rd day of release.

The media began using terms like "phenomenal" and "milestone" to describe this film, which cost only 500 million.

The front-page headline of the *China Film News* read: "Crazy Stone: Low Budget, Big Market, A New Paradigm for Chinese Genre Films." The article analyzed in detail the reasons for the film's success: solid multi-narrative structure, vivid local characters, precise comedic pacing, and most importantly—a sincere respect for the viewing needs of ordinary audiences.

Director Ning Hao's life was completely changed.

Originally just an ordinary director making TV movies within the Beijing Film Studio system, he suddenly became the focus of media attention. Invitations for interviews, speeches, and industry forums poured in. Film and television companies offered him annual salaries of tens of millions to poach him, investors offered blank checks for cooperation, and even local governments invited him to serve as a "city image consultant."

But Ning Hao politely declined them all.

"Right now, I just want to make the next film well," he said in an interview with Southern Weekly. "Chairman Wang Sheng sent me a text message with just four words: 'Stay clear-headed.' I understand what he means—the success of a film has many accidental factors, but the important thing is whether we can continue to produce good works."

That being said, the pressure is very real.

October 31, top-floor office of Jingxin Building.

Wang Sheng looked at the box office data report that had just been delivered and a smile appeared on his lips.

On its 32nd day of release, "Crazy Stone" had grossed a total of 5.03 million yuan.

This figure not only broke the box office record for low-budget domestic films, but also made Ning Hao the second Chinese director, after Wang Sheng, to have a single film gross over 500 million yuan. The media has already begun heated discussions: "Can Ning Hao surpass Wang Sheng?" "The rise of the 'second generation' of Chinese commercial film directors?" "From 'Family Harmony' to 'Crazy Stone': The Inheritance and Innovation of Chinese Comedy Films"...

"How is Ning Hao's mood?" Wang Sheng asked Li Tingting.

“I’m a little anxious,” Li Tingting reported truthfully. “He called me yesterday and said that he’s sleeping less than four hours a day now, and the moment he closes his eyes, he thinks about how to shoot the next movie. He’s afraid of disappointing the company, afraid of disappointing the audience, and even more afraid… afraid that he’s just a flash in the pan.”

Wang Sheng nodded: "That's normal. People who succeed the first time often experience this 'impersonation syndrome.' Make arrangements for me to treat him to dinner tomorrow."

"Okay. Also, here is the final schedule and guest list for the second SAIFF."

Wang Sheng took the thick folder.

第二届中美国际电影节（SAIFF）定于2005年11月13日至11月25日在沪上举行。与第一届相比，这一届的规模、规格和国际化程度都有了质的提升。

First, let's look at the judging panel.

After extensive negotiations by the organizing committee, the final seven-member judging panel was truly impressive:
The jury president is internationally renowned director Ang Lee—the Chinese director who just won the Golden Lion at the Venice Film Festival for "Brokeback Mountain" is the perfect choice for this position, as he has a background that spans both Eastern and Western cultures.

The two American judges were Clint Eastwood, who had just won the Academy Award for Best Director for "Million Dollar Baby," and Harvey Weinstein, a renowned producer and former president of Miramax (Note: This is only an objective statement of their industry standing as of 2005).

The two European judges are: French director Luc Besson (Léon: The Professional, The Fifth Element); and German director Tom Tykwer (Run Lola Run, Perfume).

The two Asian judges are: Chinese director Zhang Yimou and Japanese director Hayao Miyazaki.

Such a lineup would be considered top-tier even at the three major film festivals: Cannes, Venice, and Berlin.

The films nominated for the main competition are equally star-studded: ...

此外，为纪念中国电影诞生一百周年，电影节特别设置了“百年光影”单元，展映《神女》（1934）、《马路天使》（1937）、《小城之春》（1948）、《红色娘子军》（1961）、《黄土地》（1984）、《霸王别姬》（1993）等二十部中国电影史上的经典之作。

"How's the media attention?" Wang Sheng asked.

“Very high,” Li Tingting said. “More than 400 domestic and foreign media outlets applied for interviews, including more than 100 foreign media outlets. CNN, BBC, The New York Times, and The Wall Street Journal all sent teams. Domestically, CCTV will broadcast the opening and closing ceremonies live, and the Movie Channel will produce two hours of special programs every day.”

Wang Sheng nodded in satisfaction.

This is exactly the effect he wanted—not just to hold a film festival, but to make it a cultural event with international influence.

……

November 13, Shanghai.

The banks of the Huangpu River were slightly chilly in early winter, but the area in front of the Shanghai Grand Theatre was bustling with activity.

The red carpet ceremony officially began at 4 p.m.

The 100-meter-long red carpet was packed with media reporters and film fans from around the world. Security personnel formed a human wall to maintain order. At the end of the red carpet, a huge backdrop displayed the film festival's logo—"China-US International Film Festival" in both Chinese and English—as well as a prominent commemorative sign reading "1905-2005: A Century of Chinese Cinema".

The first to walk the red carpet were the members of the judging panel.

Clint Eastwood maintained his tough-guy image, his silver hair gleaming under the flashing lights; Luc Besson, with his signature French nonchalance, waved to reporters on either side; Hayao Miyazaki appeared slightly shy, but his smile was warm…

Each time a master appeared, the audience erupted in enthusiastic applause and cheers.

Next up are the creators of the shortlisted films.

In addition to all the Chinese movie stars present.

What surprised the media even more was that some Hollywood stars who had previously worked with Shengying also took time out of their busy schedules to attend…

There was also an unexpected guest: Johnny Depp.

This top Hollywood star had no films nominated; it was purely a private trip—"I heard there was a great film festival here, so I came to check it out."

He told reporters on the red carpet, "And Mr. Wang Sheng and I are friends."

This statement caused a stir in the media.

Wang Sheng's network and influence have extended far beyond China and even Asia.

The red carpet event ended at 6 p.m.

The guests entered the main venue of the Shanghai Grand Theatre. The 1800-seat auditorium was packed. The first floor was for guests and media, while the second and third floors were open to general audience members selected through a lottery. The stage design was simple yet grand: a deep blue background with a huge circular screen in the center, flanked by the national flags of China and the United States. A row of judges' seats had already been set up at the front of the stage.

The opening ceremony officially began at 6:30.

The lights dimmed, and the circular screen lit up.

The film opens with a five-minute short film titled "A Century of Light and Shadow".

Starting with a black-and-white clip of "Dingjun Mountain" taken at the Fengtai Photo Studio in Beijing in 1905, the screen flashes past films in sequence, including "The Singing Girl Red Peony" (China's first sound film), "Song of the Fishermen" (the first Chinese film to win an international award), "The Spring River Flows East," "The Butterfly Lovers," "The Red Detachment of Women," "Shaolin Temple," "Yellow Earth," "Red Sorghum," "Farewell My Concubine," "Crouching Tiger, Hidden Dragon," and finally the stunning special effects shots of "Havoc in Heaven."

A hundred years of light and shadow, a hundred years of changing times.

When the final image froze on the words "1905-2005", the entire audience erupted in prolonged applause.

The short film ended, and the stage lights gradually came on.

The hosts took the stage—the Chinese host was Zhou Xun, who had just won the Golden Horse Award for Best Actress for her role in "Perhaps Love," while the American host was Jennifer Aniston, who gained global fame for her role in "Friends." This combination itself symbolized cultural exchange.

After a brief opening, Zhou Xun said, "Next, let's welcome Mr. Wang Sheng, Chairman of the Organizing Committee of the China-US International Film Festival, to give a speech."

Under the watchful eyes of everyone present, Wang Sheng rose from the first row of guest seats.

Today he wore a custom-made, modified Zhongshan suit—a stand-up collar, Chinese knot buttons, and dark blue fabric—which combined traditional Chinese solemnity with the clean lines of modern tailoring. He chose this outfit specifically to commemorate the centenary of Chinese cinema.

Stepping onto the stage and standing in front of the podium, Wang Sheng surveyed the entire audience.

"Distinguished guests, fellow film professionals, ladies and gentlemen, good evening."

His voice, calm yet powerful, resonated throughout the venue via the microphone.

"First of all, on behalf of the organizing committee of the Chinese American International Film Festival, I would like to welcome filmmakers from all over the world to Shanghai and to China."

"This year is a special year. A hundred years ago, in a photo studio in Beijing, a few Chinese people filmed a segment of Peking Opera—'Dingjun Mountain'. That three-minute silent video started a century-long relationship between an ancient Eastern country and the emerging art form of film."

Wang Sheng paused, his gaze sweeping over the faces of people from different countries in the audience.

"Over the past century, China has undergone a profound transformation from poverty and weakness to prosperity and strength. Chinese films have always shared the same breath and destiny with this country and this nation. They have recorded the indomitable cries amidst the flames of war, depicted the struggles of the construction era, presented the magnificent waves of reform and opening up, and are now showcasing the diverse face of an increasingly confident modern China."

"What is film?" Wang Sheng asked, then answered himself, "In my understanding, film is a sculpture of time, a container of memory, a resonance of emotions, and a bridge that transcends language and culture."

"This is also the original intention of us in establishing the China-US International Film Festival—to build a bridge. To let Chinese films go to the world and let world films come to China. To let filmmakers from different cultural backgrounds exchange ideas, interact, and collaborate here. To let audiences see a wider world, and to let the world see a more real, three-dimensional, and diverse China."

He turned to the jury panel on the side of the stage: "At this film festival, we are very honored to have Director Ang Lee serve as the jury president, and to have Mr. Clint Eastwood, Mr. Luc Besson, Mr. Tom Tykwer, Mr. Hayao Miyazaki, and Director Zhang Yimou serve as jury members. Thank you for your time and wisdom in contributing to the art of film."

The judges smiled and greeted them.

"The sixteen films in the main competition come from eight countries. They are different in subject matter and style, but they all demonstrate filmmakers' observations and reflections on their own times. The awards at the film festival are certainly important, but I believe that what is more important than the awards is that these works can be seen, discussed, and remembered."

Wang Sheng's tone became solemn: "This year, Chinese cinema is 100 years old. A century is both a long time and a young age for an art form. We have had our glory days and our periods of silence; we have had our explorations and our moments of confusion. But today, standing at the starting point of a new century, Chinese filmmakers are more clear-headed, more confident, and more open than ever before."

"This confidence comes from China's profound cultural heritage; this openness comes from China's firm steps to integrate into the world. And film will be the most beautiful witness and participant in this process."

He held up his prepared remarks, but didn't look at them. Instead, he spoke extemporaneously: "Finally, I'd like to borrow an old Chinese saying: 'Each appreciates its own beauty, and appreciates the beauty of others. When we share beauty together, we achieve harmony in the world.' The world of film should be like this—we cherish our own cultural traditions and appreciate the artistic creations of others; we inspire each other through exchanges and progress together through cooperation."

May the light and shadow remain forever, and may our friendship endure.

"Now, I declare the 2nd China-US International Film Festival open!"

As soon as he finished speaking, the entire audience stood up and applauded.

Amid applause, the circular screen lit up again, playing a 15-minute highlight reel from the festival's opening film, "Lost in Korea."

This Sino-Korean co-production comedy, scheduled for release during the 2006 Spring Festival, was featured as the opening film, echoing the film festival's theme of "exchange and cooperation" and serving as a successful pre-festival marketing campaign. The clips, depicting Wang Baoqiang and Huang Bo's various mishaps in South Korea, elicited bursts of laughter, while Kim Hee-sun's appearance thrilled the South Korean media present.

The opening ceremony concluded in a warm and enthusiastic atmosphere.

……

Over the next seven days, all activities of the film festival will be in full swing.

The screenings of films in the main competition were packed, and tickets for the "A Century of Cinema" section were even harder to come by. Many young viewers were seeing classics like "The Goddess" and "Spring in a Small Town" on the big screen for the first time, and the timeless impact was indescribable.

At the industry forum, Chinese and American filmmakers engaged in practical discussions on topics such as co-production models, technological cooperation, and market distribution. The film trade market reached preliminary agreements exceeding $200 million, including a formal signing between Shengying Media and Disney regarding the details of their collaboration on the "Zootopia" project.

The "Citizens' Film Week" resulted in over 90% occupancy rates at 20 cinemas in Shanghai, the "Film Master Class" open lectures were packed to capacity, and the summer film program for teenagers received over 3,000 applications from across the country...

The media coverage was overwhelming.

The New York Times' culture section headline read: "Shanghai: A New Center for Asian Cinema?" The article detailed the grand occasion of SAIFF and commented: "If ten years ago the world's cinematic focus was on Cannes, Venice, and Berlin, today they must begin to pay attention to the East. The explosive growth of the Chinese film market, and the emergence of industry leaders like Wang Sheng who possess both artistic vision and commercial acumen, are changing the landscape of the global film industry."

The Hollywood Reporter focused on the industry aspect: "The US-China International Film Festival is not only a screening platform, but also a trading market. American film companies come here to find opportunities to enter China, while Chinese filmmakers come here to learn from Hollywood's industrial experience. This two-way exchange is crucial for the healthy development of the global film industry."

Domestic media coverage was even more enthusiastic.

The front page of the *Shanghai Daily* featured a banner headline: "A Century of Cinema, A World Stage—The Second China-US International Film Festival Grandly Opens." The accompanying photo was a large portrait of Wang Sheng delivering his opening speech.

The *China Film News* published a twelve-page special edition, comprehensively reviewing all the activities of the film festival and featuring a special article: "From the Golden Rooster and Hundred Flowers Awards to SAIFF: The Internationalization Path of Chinese Film Festivals." The article compares the 25th Golden Rooster Awards, which just concluded in Sanya on November 12th, with SAIFF, stating bluntly:
"The Golden Rooster Awards, as the most authoritative professional award in China, undoubtedly possesses value and status. However, it must be acknowledged that the emerging China-US International Film Festival has demonstrated greater vitality and influence in terms of internationalization, star appeal, and industry function."

Although many celebrities attended this year's Golden Rooster Awards ceremony, the overall atmosphere remained rather somber; while on the SAIFF red carpet, we saw world-class directors like Clint Eastwood, Luc Besson, and Hayao Miyazaki, as well as Hollywood A-list stars like Matt Damon, Kate Beckinsale, and Johnny Depp…

This gap in international visibility reflects the overall improvement in the strength of the Chinese film industry, as well as the global vision of industry leaders like Wang Sheng.

"What's even more interesting is that the two film festivals almost overlapped in time—the Golden Rooster Awards closed on November 12, and the SAIFF opened on November 13. This seems to be a symbol: traditional awards are still upholding professional standards, while emerging platforms have begun to build bridges to the world. The two are not contradictory, but complementary. However, it is undeniable that the SAIFF has indeed overshadowed the Golden Rooster Awards. This kind of 'praise-to-kill' comparison may not be fair, but it truly reflects the strong expectations of the industry and beyond for the internationalization and industrialization of film."

This article has sparked widespread discussion within the industry. Some agree, believing that Chinese films need more international platforms like SAIFF; others question it, arguing that the Golden Rooster Awards' professionalism should not be overshadowed by so-called "international star power."

(End of this chapter)