Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 168, Section 166: 'The Ultimate Sob Story King'

Monday, January 12, 1998.

The first weekend of the nationwide release of "30 Days" ended amidst a near-boiling market frenzy.

Just as Wang Sheng predicted, when the film broke away from the tightly controlled environment of the initial nine cities, driven by common interests and almost "militarized" management, and entered the broader but also chaotic national market, some undercurrents that had been suppressed for a short time finally surged out inevitably.

Piracy was the first to be affected.

Just three days after the official announcement of its nationwide release, around January 8th, pirated VCDs of "30 Days" began to quietly appear in some electronics markets and audio-visual stalls in Beijing, Shanghai, Guangzhou, and other cities.

These pirated discs are poorly made, with frequent picture stuttering and noisy sound quality. They are clearly "cam copies" recorded in theaters. Occasionally, you can hear the audience laughing and coughing in the picture.

However, they are extremely inexpensive, usually costing only a third or even less of the price of a genuine VCD.

This is a huge temptation for many viewers with limited income who still yearn to watch movies.

Pirated sources spread like a virus, appearing overnight in underground distribution channels in almost every major city.

Although the Beijing Film Studio Alliance and film companies from various regions organized personnel to conduct a thorough investigation, the results were minimal in the face of this wildfire-like spread.

The source is impossible to trace. It may have come from a poorly managed county cinema or a bribed projectionist. In the face of such a huge market, tracing the source seems futile and inefficient.

At the same time, the "inertial delay" in national box office statistics has also become apparent.

Unlike the early days when The9 was almost as efficient as a daily report under special care and a community of shared interests, the compilation of box office data from film companies in various provinces (municipalities) across hundreds of cities and thousands of screening units nationwide has inevitably slowed down.

"Director Han, General Manager Wang, this is the preliminary box office summary for the first three days of the year nationwide, up to yesterday."

The head of the publicity department held the report, a hint of helplessness on his face: "The data... is still coming in one after another. Many provinces have only reported data for Friday, or Friday and Saturday. Most of the data for Sunday has not yet arrived. Moreover, this is only 'part' of what they are willing to report."

The figures on the report were clearly far below expectations, even falling short of the initial box office figures for the opening weekend in Nine Cities.

Han Sanping looked at the report, his brows furrowed, and finally just sighed, gently placing the report on the table: "I understand. Urge them, but don't be too pushy. If the water is too clear, there will be no fish. As long as things are generally okay and most of the revenue sharing is in place in the end, that's fine. This is the current situation, and there's no need to rush it."

He glanced at Wang Sheng, who stood calmly beside him, and said, "You're quite composed."

Wang Sheng smiled, his gaze sweeping over the unpleasant report, and said, "The momentum is there. A few minor flaws won't change the direction. We've achieved our goal—'30 Days' proved the box office potential of domestic commercial films and spurred the implementation of the revenue-sharing system. The remaining details will be a long-term game. We should focus our energy on the next film, the next project."

He no longer pays much attention to these trivial operational disputes.

For him, "30 Days" is more like a pebble thrown into the center of a lake. The ripples have spread, the goal has been achieved, and there is no need to keep an eye on the surface of the water.

What truly made him feel the direct impact of the project's success was the dramatic change in the fate of the people around him.

Li Xiaoran's popularity skyrocketed with the nationwide release of "30 Days"!

The image of the "most beautiful bride" advertising model has not been completely forgotten. On the big screen, the gentle and resilient "Lin Weiwei" who sparked a wonderful chemistry with Stephen Chow instantly propelled her into the spotlight.

Walking down the street, she is easily recognized and asked for autographs; interview invitations and scripts are sent to Shengying Media like snowflakes.

She truly experienced the feeling of becoming an overnight sensation—excitement, fear, and a slight sense of unreality. She could only rely on love, sex, and warmth to perceive her reality.

...Meanwhile, another wave of enthusiasm quietly gathered on Hunan TV in the south, and suddenly erupted thanks to an unexpected "modeling" incident.

The competition to narrow down the top 120 contestants to the top 60 in the "Super Girl" competition has been fully recorded.

On an increasingly competitive stage, Cecilia Cheung has steadily made her way in the world with her mixed-race beauty, unique Hong Kong style, and consistent performances of Cantonese songs.

In a segment of the show where the production team carefully designed "contestants' inner thoughts," this seventeen-year-old girl, facing the camera, did not choose to play the victim or be sentimental. Instead, she spoke about her family background with a calmness and honesty that was beyond her years.

She openly admitted how Wang Sheng "picked her up" in Hong Kong, signed her with Enlight Media, and enrolled her in the competition.

But when she mentioned that her father was a notorious gambler in Hong Kong, that her family was heavily in debt, and that she was frequently harassed by gangsters who came to her door to collect debts, and had even faced potential retaliation and life-threatening situations...

The studio was completely silent.

Her simple wish, "I participated in the competition because I wanted to earn enough money to bring my mother and younger brother to live in the mainland, where it's safe," was transmitted to countless households through television signals.

Her Hong Kong identity, stunning appearance, tragic past, resilient character, and the impactful goals of "escape" and "seeking security" in the current context... all these elements combined instantly transformed Cecilia Cheung into a highly compelling and talked-about publicity figure!
Her identity as an artist under the organizer's management was overlooked with remarkable leniency by the audience and media in the face of this almost brutally realistic narrative.

People are more focused on her appearance, her singing voice, and her strong desire to protect her family and change her destiny.

"Beautiful Chi", "Hong Kong Rose in Adversity", "A Young Woman Who Is Strong When She Is a Mother"... Various labels, carrying sympathy and admiration, were quickly attached to her.

Hunan TV and Enlight Media's publicity teams seized this opportunity!

Promotional resources from all sides began to be poured into Cecilia Cheung.

Her interviews, her stories, and every moment of her competitions were carefully edited, amplified, and disseminated.

The popularity and discussion surrounding the "Super Girl" program also skyrocketed thanks to Cecilia Cheung's influence!
"Have you watched 'Super Girl'? That girl from Hong Kong had it so tough!"

"Cecilia Cheung sang 'Stubborn to the end' tonight, and it broke my heart!"

"I hope she can advance and bring her mother over soon!"

Similar discussions are spreading in the streets and alleys, on campuses and in factories.

Originally intended as a trial and a novel program format, "Super Girl" had its potential reassessed by the senior management of Hunan Satellite TV.

In this cold winter, when most people prefer to stay at home and watch TV, the appeal of a music talent show with such tear-jerking and inspirational figures is undeniable!
Hunan TV quickly reached an in-depth cooperation agreement with Enlight Media.

The collaboration is no longer limited to simple advertising revenue sharing, but extends to in-depth program development, subsequent artist management collaboration, and comprehensive publicity and promotion.

Both sides are determined to concentrate resources and use Cecilia Cheung, the hottest topic this winter, as the core focus to make "Super Girl" the most dazzling program on television screens this winter vacation!

When Wang Sheng received a phone call from Wang Changtian in Beijing, bringing good news and asking for instructions on the next steps, he calmly instructed: "Go with the flow and protect her. The show needs to be popular, but its foundation is music and authenticity. Don't let excessive hype ruin her and the show's long-term value."

"Yes, Mr. Wang."

(End of this chapter)