Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 180, Section 178: Han Sanping: I'm going to build a new Beijing Film Academy! (Revised)

Beijing in March 1998.

The restlessness in the air intertwined with the clamor in the cultural sphere.

Just as the buzz surrounding "Super Girl" and the discussions sparked by the Cecilia Cheung phenomenon had not yet completely subsided, a message from higher levels with far-reaching implications exploded like a clap of thunder within the broadcasting, film, and television system.

The former "Ministry of Radio, Film and Television" was reorganized into the more well-known "General Administration".

This change is not merely a name change, but also signifies a profound adjustment in the management system and functional division, marking a new stage of development for China's radio, film, and television industry.

Some of the original administrative functions were transferred to the newly established Ministry of Information Industry, while the State Administration of Press and Publication will focus more on macro-management, policy making, and content regulation of the industry.

When the news came, the various units within the system reacted differently. Some waited and saw, some speculated, and some with keen senses sensed an opportunity for a new round of reforms and strategic planning.

At this delicate moment of transition between the old and new systems, an internal seminar aimed at "discussing future reform and development" was held in an inconspicuous conference center on the outskirts of Beijing. The seminar was attended by heads of core film units within the broadcasting system.

The attendees included heads of major film studios, provincial film companies, and relevant departments of the newly established State Administration of Radio, Film and Television.

The atmosphere in the meeting room seemed peaceful on the surface, but undercurrents were swirling beneath. Everyone knew that this meeting was not only a summary of the past two years, but could also determine the future flow of resources and the division of power.

Han Sanping, the director of Beijing Film Studio, was naturally one of the focal points of the meeting.

He was dressed in a dark Zhongshan suit, his hair was neatly combed, and he sat behind the seat marked "Beijing Film Studio" with a calm and composed demeanor.

Over the past two years, under his leadership, Beijing Film Studio, through Shengying Media, which is deeply intertwined with Wang Sheng, has achieved a remarkable turnaround by producing wedding videos, TV movies, blockbuster films, and even talent shows. From an old state-owned factory that needed funding from higher authorities and whose employees' children had difficulty finding employment, it has become one of the most economically efficient and market-dynamic units in the national film system.

The meeting proceeded to the point where the heads of each unit gave their speeches.

When it was Han Sanping's turn, he steadily walked to the podium and adjusted the microphone.

He didn't rush to speak, but slowly scanned the entire room with his gaze, briefly meeting the eyes of familiar or rivals such as Zhu Yongde and Tong Gang, the head of China Film Company. He also saw a mixture of envy, curiosity, and even a hint of jealousy in the eyes of many representatives from local film studios.

"Distinguished leaders, fellow colleagues."

Han Sanping's voice was steady and powerful, carrying throughout the venue through the microphone: "I am very pleased to be here at this time of transition to discuss the future of our film industry with everyone. First of all, on behalf of Beijing Film Studio, I would like to give a brief report on our work over the past two years and some preliminary thoughts."

Instead of pulling out a thick stack of papers, he began his presentation based on his clear memory and data.

"The past two years have been a period of both challenges and opportunities for Beijing Film Studio, a period of trial and error and bold exploration."

Han Sanping got straight to the point: "Under the care and guidance of the leaders of the Ministry... oh, now I should say the General Administration, and in the tide of the market economy, we have carried out a series of market-oriented reform attempts."

He first mentioned the "wedding film business" that initially attracted attention.

"This business, initiated and market-oriented by Wang Sheng, a son of one of our factory's employees, has so far expanded its mid-to-low-end brand 'Image Memory' to Tianjin and Hebei Province, forming a stable market pattern of 'two cities and one province,' while its high-end brand 'Personalized Customization' has made a name for itself in the national market."

In 1997 alone, the project achieved a net profit of over 100 million yuan, effectively solving the employment problem for some employees' children. More importantly, through a profit-sharing model, it allowed early supporters' families to share in the benefits of reform and development, greatly boosting morale.

He then talked about television movies.

"Relying on the platform of the 'Film Studio Alliance,' we have joined forces with more than 30 sister organizations to develop the 'Weekend Cinema' TV movie program."

Adopting a low-cost, short-cycle, and genre-specific production model, it has successfully produced and broadcast over a hundred works to date, including the "Eight Swords of the New Year" such as "Crazy Lottery" and "Wedding Dress".

These works not only garnered substantial economic returns through broadcasts on hundreds of television stations nationwide—last year, related business brought in over 300 million yuan in direct revenue for the Beijing Film Studio—but more importantly, they trained a young team capable of quickly responding to the market and familiar with genre film production, laying a solid foundation for our subsequent foray into blockbuster films.

When talking about blockbuster movies, he naturally mentioned "30 Days".

"This Lunar New Year comedy, co-produced by our studio and Forbidden City Film Industry, and produced by Shengying Media, with Comrade Wang Sheng serving as the chief producer, ultimately achieved a box office of 91.96 million yuan with the support of colleagues across the country."

This figure demonstrates the enormous potential of domestically produced commercial films and also validates that the direction of the revenue-sharing reform is correct.

The success of this film not only brought direct economic benefits, but its greater significance lies in the fact that it acted as a key, unlocking the rigid distribution system and exploring a new model for film production, distribution, and screening that conforms to market principles.

He also briefly mentioned the company's plans in animation, television program production, and other fields, such as the animated project "Rainbow Cat and Blue Rabbit 3000 Questions" in cooperation with Beijing Film Academy, and "Super Girl" and "Love Line between Beijing and Hong Kong" by Enlight Media.

"In summary,"

Han Sanping summarized: "Through the exploration of diversification and marketization over the past two years, Beijing Film Studio has now achieved stable revenue growth and a healthy cash flow cycle."

We no longer need government funding and are fully self-sufficient. Furthermore, we have the capability to upgrade our equipment and technology using our own profits. Last year, we invested tens of millions of yuan to introduce several sets of advanced post-production equipment.

In terms of talent development, through internal training, project practice, and cooperation with the Beijing Film Academy, we have initially established a creative and management team that combines experienced, middle-aged, and young members, possessing both artistic aspirations and market understanding.

His report was detailed, well-organized, and contained no empty talk or clichés; it was all about solid market achievements and tangible benefits.

Many people in the audience were deeply moved, while others had complex expressions.

Han Sanping then changed the subject, his tone becoming more serious: "Achievements belong to the past; challenges lie in the future. We are keenly aware that relying solely on the Beijing Film Studio is still insufficient, both in terms of the scale of content production and the ability to withstand market risks."

Especially when we see our sister companies, such as Shanghai Film & Television Company, under the leadership of General Manager Zhu Yongde, carrying out effective resource integration with the aim of building a more competitive group, we feel deeply inspired and also feel immense pressure.

He specifically mentioned Zhu Yongde and the Shanghai Film and Television Company, and his gaze naturally fell on Zhu Yongde.

Zhu Yongde remained calm, with a faint smile playing on his lips, as if to say, "I'm all ears."

Han Sanping withdrew his gaze, looked at the podium and the crowd in the hall, and put forward his well-thought-out idea. His voice was not loud, but every word carried great weight:
"I think it's excellent that Mr. Zhu and his team are integrating resources in Shanghai and pursuing a group-based development path. It's the only way to cope with fierce market competition in the future."

Our capital city, as the cultural center of the country, boasts numerous valuable film resources, including the Beijing Film Studio, the Beijing Film Company, the Beijing Television Art Center, and the Children's Film Studio. It possesses a rich cultural heritage and a wealth of talent. However, these resources are currently relatively scattered and have failed to form a cohesive force.

He paused briefly, making sure everyone could hear his next word:

"I think that the money our Beijing Film Studio is making now is just numbers lying in the books. Only by investing it in a grander cause can it realize greater value."

We are fully capable of, and should fully dedicate ourselves to, emulating the Shanghai model, but we must forge a path that suits the unique characteristics of Beijing.

That is, with Beijing Film Studio at its core, in conjunction with Beijing Film Company, Children's Film Studio, and other entities, to integrate relevant production, distribution, and screening resources, and to establish a brand-new, larger-scale, and more competitive market entity—Beijing Film Group!

The moment the words "Beijing Film Group" were uttered, the entire venue fell into an eerie silence.

You can hear the needle drop.

Everyone was stunned by Han Sanping's bold, even groundbreaking, proposal.

Integrate the main film resources in Beijing to form a group!

This is no longer a small-scale operation by the Beijing Film Studio alone, but involves the restructuring of interests among multiple units of the same level and with different affiliations. It is a true "big fish eats small fish" and aims to reshape the landscape of the film industry in Beijing and even the whole country!

Han Sanping seemed oblivious to the reactions of the crowd, continuing to elaborate on his plan with an unwavering determination in his tone:

"The establishment of Beijing Film Group is not for the purpose of creating a monopoly, nor is it for resting on past laurels."

On the contrary, it is to solve the employment problem for more people, to optimize resource allocation, and to concentrate efforts on major tasks!

We can divide the group's business into several clear segments:

The film production sector is mainly composed of Beijing Film Studio and Children's Film Studio;

Integrate the distribution network of Beijing film companies to form a professional distribution segment;
United City Film Company's high-quality cinemas are creating a modern cinema chain.
This will create a complete closed-loop industry chain, encompassing content creation, production, distribution, distribution to end-user screenings and derivative development!

"We can use the existing profits and future expected revenue of Beijing Film Studio as start-up capital and credit backing to attract more social capital participation. We can also provide financial support to other units within the group that are temporarily facing difficulties, helping them to transform and upgrade."

We can plan projects in a unified manner to avoid disorderly internal competition; we can centrally procure equipment to reduce costs; and we can build a shared talent pool and technology platform to improve overall efficiency!

His voice echoed in the silent hall, persuasive and infectious, with an undeniable forcefulness.

"This will be a profound reform, inevitably touching upon some entrenched interests and encountering various difficulties and resistance. However,"

Han Sanping said solemnly, "For the future of Chinese cinema, for the sake of our old film studios to truly stand firm and be reborn in the tide of the market economy, this is the path we must take! And it will definitely work!"

He finally looked towards the podium, his tone sincere and firm: "These are just some of my immature thoughts, offered as a starting point for discussion, and I hope to receive criticism and correction from the leaders of the General Administration and my colleagues. But I believe that only through unity can we become strong; only through reform can we find a way out!"

After finishing his speech, Han Sanping bowed slightly and, amidst a deathly silence and countless gazes filled with complex emotions, calmly walked back to his seat.

The room was silent for a good ten seconds, then with a "buzz," a flood of suppressed discussions erupted.

All eyes darted back and forth across the faces of Han Sanping, the leaders on the podium, Zhu Yongde, and several other relevant personnel, including those from Beijing Film Company.

(End of this chapter)