Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 175, Section 173: Settling In
March 1998 arrived as scheduled amidst the biting spring chill.

The nationwide viewing frenzy surrounding "30 Days," just like its once unstoppable rise, inevitably declined after its box office peak and widespread national discussion, as the first round of screenings essentially ended and piracy became rampant.

The film market seems to have experienced a period of rest after a grand celebration, returning to a superficial calm. However, beneath this calm, the undercurrent of profound change stirred up by "30 Days" and the Beijing Film Studio alliance is still quietly surging, waiting for the next eruption.

In the living quarters of the Beijing Film Studio, the festive atmosphere of holidays and the excitement of profit-sharing have faded away, replaced by a more everyday atmosphere of hard work.

The smoke of the preliminary art exams had barely cleared when Fan Xiaopang and Gao Yuanyuan, before they could even savor or feel anxious about the results, were immediately thrown into the more intense, tedious, yet crucial academic review.

The college entrance examination in July is like a clear boundary marker, standing in the not-too-distant future. At most, there are only four months left until now.

In a quiet study room arranged by Shengying Media, one can often see this scene:
Gao Yuanyuan hunched over her desk, her brows furrowed, intently working on mathematical formulas. Occasionally, she would lift her bright eyes to look at the branches sprouting new buds outside the window, briefly letting her tense nerves relax before burying herself back into her studies.

Her study materials were always neatly organized, with beautiful handwriting, and carried a unique, quiet yet stubborn spirit.

Not far from her, Fan Xiaopang appeared to be more "aggressive".

The books and exam papers spread out in front of her were often piled up in a slightly messy manner. Her right hand twirled the pen quickly while she muttered historical timelines or political points to herself.

When faced with a difficult problem, she would impatiently scratch her hair or gulp down a large mouthful of strong tea before continuing to struggle with those obscure concepts.

Her bright face now showed less of the sharpness she displayed outside the exam hall, and more of a fierce and focused expression as she battled for knowledge.

Wang Sheng's words, "Whoever passes the exam first will receive preferential treatment in terms of resources," were like a carrot dangling over her head, driving her to not dare to slack off in the slightest.

They all knew that they were only halfway through their journey to the Beijing Film Academy's acting department.

While appearance and talent may give an advantage in the professional exams, academic subjects are just as difficult a hurdle for many art students.

Although the company provided the best tutoring conditions, ultimately, only they themselves could enter the examination room.

……

Monday, March 1st.

The morning sunlight streamed through the brightly cleaned glass windows into the general manager's office of Shengying Media, dispelling some of the early spring chill.

Wang Sheng sat behind his large desk, reviewing the latest briefing sent back from western Hunan by the crew of the TV series "Postmen in the Mountains".

The office heating was still on, and he was only wearing a light gray cashmere sweater.

At this time, there was a knock on the door.

"Please come in."

Assistant Li Tingting led in a middle-aged man with glasses and an elegant demeanor.

"Mr. Wang, Reporter Zhang has arrived."

The visitor was Zhang Jianwei, a senior reporter from China Youth Daily.

With a familiar smile on his face, he quickly stepped forward and shook hands with Wang Sheng, who had stood up.

"Mr. Wang, congratulations! The success of '30 Days' is truly groundbreaking, giving our domestic film industry a strong boost!" Zhang Jianwei's voice was loud and clear, carrying the enthusiasm unique to reporters.

"You flatter me, Mr. Zhang. Please have a seat." Wang Sheng smiled and invited him to sit on the sofa in the reception area. Li Tingting skillfully brewed two cups of hot tea, then quietly withdrew and gently closed the door.

After exchanging a few pleasantries, Zhang Jianwei turned on his voice recorder and notebook and got down to business.

The core of his interview was to explore the significance behind the nearly 100 million yuan box office success of "30 Days" and its impact on the industry.

"Mr. Wang,"

Zhang Jianwei said sincerely, "First of all, I must congratulate you and your team again. '30 Days' ultimately grossed 91.96 million yuan at the box office, a number that is worthy of being recorded in the history of Chinese films."

In your opinion, what was the most crucial factor in the film's enormous commercial success? Was it Stephen Chow's star power? The quality of the film itself? Or... as some commentators have suggested, was it your 'unconventional' distribution and marketing strategies that played a decisive role?

Wang Sheng leaned back slightly, crossed his hands on his knees, pondered for a moment, and replied calmly, "Reporter Zhang, I believe that attributing success to any single factor is incomplete. The success of '30 Days' is the result of a systematic project, a product of the combined effects of 'favorable timing, advantageous location, and harmonious relationships'."

He explained clearly: "First and foremost, of course, is the film itself."

We have a good story, a down-to-earth, heartwarming comedy script that resonates widely with mainland audiences. Mr. Stephen Chow's performance undoubtedly injects tremendous market appeal into the film, but more importantly, we've successfully localized it, making 'Stephen' no longer a detached Hong Kong comedian, but grounded in the everyday life of Beijing's hutongs. The outstanding performances of mainland actors like Li Xiaoran also make the film more authentic and believable. This is the foundation of our success—product strength.”

"Secondly, it's about the innovative breakthrough in the distribution model," Wang Sheng continued. "We withstood the pressure and took the lead in practicing and promoting the revenue-sharing system on a larger scale."

This is not just a change in settlement methods, but a restructuring of the relationship between producers and exhibitors. It allows market benefits to be fed back to the production process more directly and quickly, stimulating the enthusiasm of all parties involved.

Without this mechanism, which is closer to market principles, it would have been difficult for us to recover such a large amount of capital in such a short period of time.

"Thirdly, it's about the coordination of marketing and public opinion." He frankly admitted, "From the very beginning of the project, we have paid great attention to market warm-up and creating buzz."

"at last,"

Wang Sheng concluded, "An indispensable point is that the times have given us opportunities. The cultural consumption needs of ordinary people are increasing, and the film market is in a period of rapid growth. We just happened to release a suitable product at the right time and launched it to the market in a relatively appropriate way."

Zhang Jianwei took notes quickly, nodding occasionally, and then asked, "The box office of nearly 100 million yuan undoubtedly proves the huge potential of domestic commercial films."

However, some voices believe that such achievements are somewhat accidental and unreplicable, and even worry that this will lead to blind following and a market bubble.

How do you view these concerns? Is the success of "30 Days" merely an isolated case, or does it represent a sustainable model?

Wang Sheng smiled, his eyes sharp: "The success of any single project inevitably bears its unique imprint of the times and a certain degree of chance. Expecting to completely replicate the path of '30 Days' and recreate another box office of nearly 100 million is unrealistic. However,"

He then changed the subject, his tone becoming firm: "The direction it validates—content production driven by audience needs, distribution and screening based on market principles, and publicity and promotion using integrated marketing—is absolutely sustainable and must be adhered to."

"It tells us that Chinese audiences are willing to pay for high-quality domestic films, and that the Chinese film market is far from reaching its ceiling."

Wang Sheng raised his voice slightly: "The key is whether we can consistently provide works that move people and are well-made. Following trends is not terrible; what is terrible is low-quality following trends."

If the success of "30 Days" can inspire more industry professionals to think about how to improve film quality and how to innovate operating models, then that would be the greatest positive impact on the entire industry.

It should be a starting point, a benchmark to raise the overall level of the industry, not an insurmountable finish line, much less the beginning of a bubble.

Zhang Jianwei, seemingly lost in thought, continued, "Speaking of the industry, the distribution process of '30 Days,' especially the negotiations with various provincial film companies, has attracted widespread attention. What are your views on these problems existing in the current domestic film distribution system? What implications does this experience of 'tearing open a crack' have for future industry consolidation?"

"The old issuance system was formed under specific historical conditions and had its own rationale for existence, but it also accumulated a lot of deep-seated problems."

Wang Sheng bluntly stated: "Problems such as departmental fragmentation, inefficiency, and uneven distribution of profits have indeed hindered the healthy development of the film market. The experience of '30 Days' shows that market forces are forcing reforms. The attempts of film studio alliances, as well as the spontaneous group integration in places like Shanghai, are all explorations of new paths."

He paused briefly before offering a more forward-looking assessment: "I believe the future trend will inevitably move towards more intensive, market-oriented, and standardized issuance."

The emergence of powerful nationwide and cross-regional distribution entities may be a possibility, making cinema chain reform imperative. Only by streamlining distribution channels, reducing unnecessary intermediaries, allowing excellent films to reach audiences more smoothly, and ensuring producers receive a more reasonable return on their investments, can the entire industry enter a virtuous cycle.

"So, for you personally and Shengying Media, what are the next plans after the peak of '30 Days'? Do you feel any pressure?" Zhang Jianwei asked the last key question.

"There is pressure, of course, but there is more motivation."

Wang Sheng frankly stated: "30 Days is a stage-by-stage achievement of the alliance between Shengying Media and Beijing Film Studio, but it is by no means the end."

We are already planning subsequent projects, such as "Postmen in the Mountains" directed by Huo Jianqi, which is currently being prepared in western Hunan. The style is completely different from "30 Days", but we believe in its artistic value and market potential.

We are also continuously developing TV movie programs to solidify our core business and cultivate new talent. In addition, our animation projects, artist management, and TV program production businesses are also progressing simultaneously.

His gaze drifted out the window, as if he could see a more distant future: "Shengying Media's goal has never been just to produce one or two blockbuster movies."

We hope to build a more resilient and competitive system across multiple dimensions, including content production, distribution channels, talent development, and technology reserves.

The Chinese market is large enough to accommodate many types of success.

We will continue to explore—perhaps different types of commercial films, perhaps art films with auteur expression, perhaps new forms of film and television… In short, we will not stop.

"..."

"Most importantly, when making movies, you must never distance yourself from the audience."

The interview lasted for nearly two hours in a candid and insightful atmosphere.

(End of this chapter)