Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 284, Section 282: Going Against the Current
Late March 2000.

Seoul, South Korea.

Despite the lingering chill of early spring and the city's incomplete recovery from the aftermath of the financial crisis, it was already showing signs of becoming known as the birthplace of the "Korean Wave."

On the streets and alleys, HOT posters have not yet completely faded, and the sweet images of girl idol groups such as SES and Fin.KL also occupy the vision of the younger generation.

However, in the film market, South Korea was still dominated by Hollywood at that time.

With the lingering popularity of "The Matrix" and "Star Wars: Episode I – The Phantom Menace," domestic films, while boosted by the success of "Shiri," are still struggling to catch up in terms of market share.

As for Chinese films?

In the eyes of ordinary South Koreans and even most film critics, it is almost synonymous with "non-existent" or "backward".

Their impressions are mostly still based on the few kung fu films introduced in the 1980s, or some "rural art films" that won awards at international film festivals but had slow narration and dark tones.

They know nothing about the urban landscape of modern China or the emotional world of young people, and they also lack access to information about it.

Stereotypes are deeply ingrained: a large but somewhat rustic and slow-developing neighboring country would naturally struggle to produce films that meet modern, international aesthetic standards.

Against this backdrop, the challenge for Jung Tae-won, president of Tae-won Entertainment, to bring a Chinese youth romance film, "First Love," to the Korean screen is self-evident.

This is not just a business adventure, but more like a cultural "counter-current" action.

Over the past two months, Zheng Taiyuan has used almost all the connections and methods he has accumulated.

He frequently visited the Ministry of Culture and Tourism, the Korean Archives, and the Film and Television Rating Committee. Beneath his suits and ties were envelopes stuffed with various "heartfelt wishes" and precious gifts that seemed to be handed over casually.

He was eloquent, painting a beautiful picture of cultural exchange between China and South Korea for the officials, emphasizing that the introduction of this film, which had created a box office miracle in China and sparked heated discussions in society, had a "positive demonstrative significance" for enhancing the understanding of China among the younger generation in South Korea and promoting bilateral cultural interaction.

He even suggested that this could serve as a "typical case" of responding to the government's "cultural nation-building" strategy and broadening the channels for cultural introduction.

At the same time, he gave a completely different explanation to the heads of major cinema chains.

He presented a briefing on the box office data of "First Love" in the Chinese market (carefully translated and embellished), emphasizing its commercial potential of achieving great results with a small budget, and promised that Thai Won Entertainment would invest in publicity and distribution expenses "no less than those of a medium-sized local film."

Of course, some "private understandings" and promises of profit sharing are also necessary lubricants for smoothing things over.

The process was not smooth sailing. Doubt and disdain were commonplace.

"Chinese movies? Does anyone watch them?" "Youth films? Can they compare to Japanese idol dramas?" Similar questions are constantly being asked.

The mainstream prime-time slots, such as winter break (January-February) and summer break (July-August), have already been snapped up by Hollywood blockbusters and highly anticipated domestic productions. Theaters are simply unwilling to risk reserving prime-time slots for an "unknown" Chinese film.

Ultimately, through sheer tenacity and some underhanded tactics, Zheng Taiyuan managed to pry open a crack in the defenses.

"A Little Thing Called First Love" was scheduled for release on March 10, 2000, a lukewarm spring season.

At this time, students' winter vacation has ended and summer vacation has not yet begun, so it is not the traditional peak season for movie watching.

But Jung Tae-won had his own plan: avoiding the clash of big-budget films might allow this refreshing film to stand out.

Moreover, South Korean society generally practices a two-day weekend, and weekend box office revenue usually accounts for 60% or even 70% of the total for the week. As long as word-of-mouth spreads, there is still a chance.

Obtaining the release permit is just the first step in a long journey.

The real challenge lies in how to persuade South Korean audiences, who have prejudices against "Made in China," to go to the cinema.

Jung Tae-won is well-versed in marketing. He carefully studied the series of promotional plans that Wang Sheng devised in China for "First Love" and decided to replicate its core strategies in South Korea.

He firmly believes that the human emotions of pure love and shared growth are universal.

Taiyuan Entertainment's publicity team acted swiftly:
Campus penetration: A large number of college students were hired part-time to post a large number of beautifully designed posters in major university towns and near high schools in Seoul, Busan, Daegu and other cities.

The poster highlights Gao Yuanyuan's pure and sweet image and Huang Xiaoming's sunny and handsome profile, while the copy emphasizes "a phenomenal Chinese youth film" and "a pure love story that touches the hearts of millions of girls".

Online hype: Although the South Korean internet was not as developed as it would become in 2000, early online communities and forums were already active. The publicity team published a large number of "advertorials" on these platforms, using eye-catching titles such as "Unexpectedly discovered an amazing Chinese movie" and "The Chinese version of 'Love Letter'?", along with beautifully edited trailers imported from China.

Media hype: Money was spent on placing film introductions and interviews with the main creators in some entertainment newspapers and cable TV variety shows (using material from interviews with the main creators in China, with Korean subtitles).

However, initial market feedback poured cold water on Zheng Taiyuan's enthusiasm.

After the teaser posters and promotional materials were released, skepticism and ridicule dominated online forums in South Korea.
"??? (What? A Chinese movie? Not a kung fu film?)"

"(China can make youth films like this? That's surprising.)"

"(The female lead is quite pretty, like a Korean actress.)"

"...(It's best not to get your hopes up just from watching the ads. Chinese films are still...)"

"Is it a Taiwanese film?" (There are also many who confuse the concepts.)

The power of stereotypes is enormous.

Many South Korean netizens simply don't believe that China can produce a modern urban romance film with exquisite visuals and delicate emotions.

In their imagination, Chinese films and television works are either ancient martial arts dramas with characters flying around or realistic dramas reflecting the hardships of rural life.

This widespread disdain and skepticism significantly hampered the initial promotional efforts for "First Love." Just when Jung Tae-won was feeling overwhelmed and the promotion seemed to have reached a stalemate, he remembered the Korean adaptation rights to "Courage," which he had acquired as part of a package deal with Wang Sheng.

A bold idea formed in his mind.

He immediately contacted Park Jung-hyun, a female singer who was then known in the Korean music scene for her clear, infectious, and powerful singing voice.

Jung Tae-won's choice of Park Jung-hyun was a well-considered one.

She is not just an idol; her musical talent and vocal ability are widely recognized in the industry, and she has a broad audience base, with people from teenagers to adults appreciating her voice.

Her voice combines the clarity of a young girl with the resilience of a woman, and her emotional expression is delicate and sincere, making her very suitable for performing a song like "Courage," which encourages people to be brave for love while also carrying a touch of youthful trepidation.

Inviting her to sing would not only leverage her reputation to elevate the song and the film's style, but also accurately convey the inner world of the film's female protagonist, "Xiao Shui."

After listening to the demo of the original song "Courage" and watching the movie synopsis and clips, Park Jung-hyun was moved by the pure emotions contained in the song and the story of the girl's efforts to grow for love in the movie. He thought it was an interesting and meaningful attempt and gladly accepted the invitation to sing.

Taewon Entertainment quickly assembled top Korean lyricists to meticulously adapt the lyrics of "Courage" into Korean, preserving the original meaning while making them more in line with the rhythm and expression habits of the Korean language.

The recording and music video shooting work is in full swing.

The music video director deliberately captured Park Jung-hyun immersing herself in singing in the recording studio, intertwining it with movie clips playing on the big screen behind her—Shui's unrequited love, hard work, loss and transformation—creating a strong emotional resonance.

On Monday evening, February 28, 2000, this specially produced music video was broadcast during the middle of MBC's "Music Camp," one of the most influential music programs in South Korea.

The show is enjoying high ratings, with countless families, especially young women, glued to their television sets.

Suddenly, the screen went dark, and a clear piano prelude began.

Then, the screen lit up, showing a close-up of Park Jung-hyun focusing on her singing; her clear and determined eyes instantly captivated the audience.

"(Finally made this decision, I don't care what others say, as long as you agree...)"

Her singing voice, like a clear spring, carries a slight, almost imperceptible tremor, yet is filled with an undeniable determination.

The song was interspersed with highlights from the movie "First Love":

Under the sunlight, an ordinary girl named "Xiao Shui" (played by Gao Yuanyuan) secretly gazes at the back of the handsome senior "A Liang" (played by Huang Xiaoming);

The various clumsy yet adorable efforts a girl makes to become more beautiful and outstanding;

She wept alone in the rain, her eyes filled with resentment.

After her final transformation, she shone confidently on stage, her eyes bright and clear...

These visuals, with their bright colors and delicate emotions, blend perfectly with Park Jung-hyun's singing.

"(Love truly needs courage to face gossip and rumors...)"

In the chorus, Park Jung-hyun's voice fully opens up, full of emotion and inspiring power.

The music video ends with a freeze-frame on the moment when Xiao Shui, after her transformation, reunites with her senior, A Liang, accompanied by prominent subtitles:

Park Jung-hyun passionately sings "Courage" – the theme song for the movie "First Love".

Release date: March 10, 2000
This short three-minute music video, like a pebble thrown into a calm lake, instantly stirred up a thousand waves!
Before the program even ended, traffic to the movie's official website, which was pre-programmed by Taiyuan Entertainment, began to surge.

Discussion forums on major online communities were quickly flooded with posts, and the trend began to shift:
"!! (Park Jung-hyun's song is so good! I definitely have to watch the movie too!)"

"(Tears welled up in my eyes while listening to the song... The female lead's acting was truly superb.)"

"...(Courage...I also want to love bravely like that once.)"

"...(The movie's picture quality is better than I expected. Looking forward to it.)"

"(It's unbelievable that there are such sentimental songs in Chinese movies...)"

Park Jung-hyun's performance infused the song "Courage" with powerful emotional resonance and market appeal.

Her version quickly climbed the charts on major music streaming websites, and radio stations were inundated with requests to play it.

More importantly, through her heartfelt and high-quality singing, as well as the exquisite cinematic scenes presented in the music video, many South Korean viewers who originally held prejudices against Chinese films experienced the quality and charm of "First Love" for the first time.

They discovered that young people in China also experience such pure and touching unrequited love, that China's urban landscapes can be so fresh and bright, and that China can also produce modern love stories that are so close to their emotional world.

The ice of stereotypes was broken open by a trusted female singer and a moving song, creating a wide crack.

Taking advantage of the momentum, Jung Tae-won played Park Jung-hyun's version of the "Courage" music video frequently on various TV stations and in front of movie theater trailers, and increased online and offline promotional efforts with slogans such as "Recommended by Park Jung-hyun" and "Listen to courage, meet your first love".

Some cinema managers who were initially hesitant about scheduling screenings for "First Love" have started to proactively contact Taiyuan Entertainment to inquire about more details and have significantly increased the number of pre-screenings for the film.

At an internal meeting, the scheduling manager of a large chain cinema in Seoul said, "Park Jung-hyun's music performance and popularity have generated a lot of curiosity among young female viewers about this film. We should give it some good screenings to test the waters."

Sitting in his office, listening to his subordinates report on the latest public opinion trends and the rapidly increasing pre-sale ticket data, Zheng Taiyuan finally showed the most relaxed smile he had had in the past two months.

He called the office of the general manager's assistant at Shengying Media. Li Tingting answered the phone and said she would definitely pass on the message to Wang Sheng and wish Zheng Taiyuan great success.

(End of this chapter)