Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 223, Section 221: Overdrawing Twenty Years of Future World Film Industry

The black Audi drove away from the China Film Group building and merged into the somewhat languid afternoon traffic in Beijing.

The car was quiet, with only the faint sound of the air conditioner.

Wang Sheng leaned back in the soft back seat, closing his eyes to rest, but his mind was in turmoil.

The news brought by Lao Han was undoubtedly a boulder thrown into a calm lake.

The approval and importation of imported films are suspended indefinitely.

what does this mean?
This means that for an uncertain period of time in the future, Hollywood blockbusters will be almost nowhere to be seen on the screens of mainland Chinese films.

The fleeting dream of global synchronization and market openness, built on the phenomenal box office success of "Titanic," was abruptly shattered.

A huge content vacuum has emerged in the film market.

However, the audience's demand for watching movies will not disappear as a result; on the contrary, they may become even more eager due to the sharp decrease in choices.

This is an unprecedented challenge for domestic films, but also a huge opportunity.

A player who can quickly and efficiently provide high-quality content will be able to seize market share and build strong brand awareness and audience base during this downturn.

Han Sanping's emergency mobilization order was based on this.

He needs content, a large amount of domestically produced content that can immediately be shown in theaters to stabilize the market and make his voice heard.

The TV and film division, which Wang Sheng controls and relies on a large team of screenwriters and an industrialized production process, has become the production institution that he can mobilize and rely on the fastest, without exception.

Of course, risks also exist...

The car came to a smooth stop in front of the Jingxin Building.

Wang Sheng opened his eyes, his gaze now clear.

He got out of the car, strode into the building, and took the elevator directly to the ninth floor.

"Mr. Wang."

"Hello, Mr. Wang."

The employees he encountered along the way greeted him respectfully, and Wang Sheng nodded in response, continuing on his way back to his office.

Li Tingting had already placed a freshly brewed cup of hot tea on his desk.

Wang Sheng waved his hand, signaling her to go out first, as he needed some peace and quiet.

Sitting in his large office chair, he picked up his teacup, blew away the floating leaves, and took a sip.

The warm tea brought a sense of comfort as it went down his throat, and it also helped him concentrate better.

The shortage of imported films will last for about six months, after which it will be restored following the signing of a bilateral agreement between the two countries under the World Trade Organization.

Six months...

What Wang Sheng needs are film projects with strong market appeal.

The basic premise is that the cost cannot be too high, the cycle must be short, and complex special effects cannot be involved.

After all, time waits for no one, and the efficiency of funds must also be considered.

So, which works should we copy...?

The vast "film library" from the future in Wang Sheng's mind began to operate and filter rapidly.

Foreign films...

Memento (2000, USA) - A classic non-linear narrative suspense film, low-cost, conceptually strong, and can be adapted into a crime-hunting/self-discovery story set in an urban environment.

Frequency (2000, USA) – A science fiction setting wrapped around a core of family affection, connecting a father and son in the past and present through an old radio, deeply moving, and could be localized to a specific historical period (such as the 80s).

"Il Mare" (2000, South Korea) - A beautiful and romantic love story where characters communicate across time and space through a mysterious email account. The premise is novel, the emotions are pure, and it is easy to localize.

First Love (2010, Thailand) – A classic example of the theme of unrequited love in youth, it is lighthearted, humorous, and touching, easily resonating with audiences and making it almost easy to adapt to local audiences.

*The Proposal* (2009, USA) – A workplace contract romance, a classic "marriage of convenience" trope, with plenty of comedic elements, suitable for local adaptation into a lighthearted romantic comedy for CD-ROM cities. *About Time* (2013, UK) – A man with the ability to travel back in time uses his power to manage love and life, ultimately understanding the true meaning of cherishing the present. Localization direction: The light science fiction setting serves a heartwarming family and love theme, easy to localize, with an emphasis on emotional portrayal.

The Intouchables (2011, France) – A magical friendship that transcends class and race, combining humor and emotion. Localization could focus on urban-rural differences or clashes between different social classes.

"Flying Colors" (2015, Japan) is an inspirational story of a student's underdog rise to success. It is passionate and realistic, and it is very easy to resonate with students and parents. Its localization is almost a perfect fit for the college entrance examination background.

Perfect Strangers (2016, Italy) – A group drama set in a confined space, revealing the fragility of interpersonal relationships through a mobile game. The script is ingeniously structured, and there are successful precedents for its localization (Cell Phone).

My Sassy Girl (2001, South Korea) – A romantic comedy that subverts tradition, featuring a "sassy" female lead and a good-natured male lead, combining hilarious moments with a profound emotional core. Localization potential: Perfectly suited to Chinese audiences, it could be set on a Chinese university campus or among young people just entering the workforce, exploring gender relations in the new era.

Happy Family (2010, South Korea) – A down-on-his-luck young man who attempts suicide can see ghosts; a comedy with a core of profound family love, culminating in a touching twist at the end. Localization approach: The ghost concept is localized (e.g., through dreams, unresolved issues), while the core family emotions remain universally relatable.

*A Man Called Ove* (2015, Sweden) – A sharp-tongued and stubborn old man, in his quest for death, is repeatedly disturbed by his new neighbors, uncovering his past and ultimately healing each other. Localization potential: It could create a Chinese-style "stubborn old man," showcasing the warmth and camaraderie of the community.

Domestic films...

Crazy Stone (2006) – a pioneering work of multi-narrative black comedy, with extremely low budget, achieved both box office and critical success, proving the power of a good script and narrative structure.

Get Back Home (2007) - A road movie about returning home with the body of a fellow worker. It is a bittersweet story that showcases the kindness and resilience of people at the bottom of society, and features dark humor.

"We Two" (2005) - A low-budget art film, a heartwarming story between a lonely old man and a female student renting a room. The performances are delicate and the emotions are sincere and moving.

"The Equation of Love and Death" (2008) - a work by Cao Baoping, a suspenseful story wrapped in love, with Zhou Xun's legendary performance and a tight narrative.

Nightclub (2009) – Directed by Yang Qing, a low-budget comedy about various coincidences and conflicts that happen overnight in a supermarket. The space is limited but the jokes are plentiful.

"The Piano in a Factory" (2010) - A heartwarming and inspiring story set against the backdrop of the times, where a laid-off worker builds a piano for his daughter, combining industrial aesthetics with humanistic care.

Hello! Mr. Tree (2011) – Magical realism, depicting the spiritual predicament of ordinary people at the bottom of society, Wang Baoqiang's peak performance, highly artistic.

Lost on Journey (2010) – a road comedy set against the backdrop of the Spring Festival travel rush, combining grassroots concerns with humor, pioneering the "Lost" series.

"Love is Not Blind" (2011) - A miracle of low-budget romance films, its sharp dialogue and relatable topics sparked a viewing frenzy and became a classic marketing case.

Breakup Buddies (2014) – a road comedy that heals heartbreak, featuring beautiful scenery, plenty of laughs, and commercial success.

"Mr. Donkey" (2016) - adapted from a stage play, an absurd satirical comedy with a powerful script and profound analysis of human nature.

The Nameless (2018) – A multi-narrative film depicting the lives of ordinary people in a small southwestern town, a mix of joy and sorrow, with excellent character development.

Love Myth (2021) – A Shanghai dialect film about middle-aged love in the city, delicate and humorous, with a slice-of-life narrative, and a well-received film.

The outlines, highlights, and core settings of these forty films flashed through my mind, colliding with each other and being quickly filtered and matched in light of the social atmosphere, censorship environment, audience tastes, and technological conditions of 1999.

Costs cannot be high...

Comedies with multiple storylines or confined spaces, such as "Crazy Stone," "Nightclub," and "Lost in Thailand," are the preferred choices.

The cycle needs to be short...

Projects like "First Love" and "Flying Colors," which have relatively simple structures and rely mainly on the script and actors' performances, can be launched quickly.

Localization should be easier...

"The Lake House" (could be changed to email?), "Flying Colors" (perfectly fits the college entrance exam background), "My Sassy Girl"...

More importantly, it must be able to "fill the gaps".

Imported films mainly offer visual spectacle and blockbuster experiences, which are difficult to replace in the short term.

Supernatural films are a deep, untouchable area.

There aren't many themes to choose from...

Think for a moment.

Wang Sheng turned on his computer and began writing.

He only copied the story outline, leaving the script to his writing team.

(End of this chapter)