Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 306, Section 304: Loyalty!
The July heatwave transformed into a box office frenzy for "My Sassy Girl" in mainland China, while in South Korea and Hong Kong, which are geographically close to China, another cultural feast orchestrated by Wang Sheng is quietly unfolding amidst the summer heat.

Friday, December 21, 2000.

Seoul, South Korea.

Compared to the phenomenal social discussion sparked by "My Sassy Girl" in mainland China, the atmosphere during the South Korean summer movie season was equally heated, but with a greater degree of caution under the protection of the local industry and wariness towards Hollywood blockbusters.

However, on that very day, a film called "Happy Family" (a Chinese-Korean co-production) with an all-Korean production team was released in major South Korean theaters.

The person behind this film is Jung Tae-won, the president of Tae-won Entertainment.

Since "First Love" unexpectedly became a hit in South Korea, creating a box office miracle for Chinese films in South Korea by going against the tide, Jung Tae-won's status in the South Korean entertainment industry has quietly changed.

He is no longer just the president of a mid-sized entertainment company, but is regarded as an adventurer and operator with a keen eye who can accurately capture and even create the trend of "Chinese films".

Jung Tae-won went to great lengths to ensure that "Happy Family" received the maximum support in the local market.

He was well aware that despite the success of "First Love," the co-production model of "Chinese story, Korean interpretation" still faced many inherent prejudices and uncertainties regarding censorship.

He used his extensive network of contacts accumulated over many years to frequently visit the Korean Film Council and major domestic distribution companies.

Gifts and a carefully prepared banquet were of course indispensable, but Zheng Taiyuan was even more clever in his words.

He packaged "Happy Family" as "the culmination of a deep collaboration following the success of "First Love," emphasizing that although it was adapted from a successful Chinese film concept, the core production team, actors, and even the story's background had been completely Koreanized, making it a "co-production with a Korean soul."

He also spared no effort in promoting the enormous potential value of establishing a long-term strategic partnership with Wang Sheng and Shengying Media for Korean films to expand into the Chinese market and learn from advanced genre film production experience.

"Gentlemen, this is not just about importing a movie; it's about opening a door to a market of a billion people for us Korean filmmakers!" Jung Tae-won passionately persuaded during closed-door meetings. "Mr. Wang Sheng is a leading figure in the reform of Chinese cinema. His vision and model are worth learning from and cooperating with."

His efforts were not in vain.

With the credibility and tangible commercial potential of "First Love," coupled with well-timed "communication," South Korean authorities and local distribution companies provided extraordinary support for the release of "Happy Family."

The number of screens opened reached a medium to high scale, covering core cinemas in major cities such as Seoul, Busan, and Incheon, and a lot of promotional resources were also allocated to it.

Meanwhile, on the other side, there is Hong Kong Island, known as the "Hollywood of the East".

The summer movie season has always been a fiercely contested battleground, with Hollywood blockbusters and strong Hong Kong local films locked in a heated competition.

Operated by Stephen Chow's Star Overseas Ltd., "Happy Family" (a Chinese-Korean co-production) was also released in major cinemas on Hong Kong Island on the same day.

Wang Sheng handed over the distribution of the Hong Kong Island film to Zhou Xingxing's company.

This is based on the trust established between the two parties on the "Shaolin Soccer" project, and also on the unparalleled distribution network and influence of Stephen Chow and his team in Hong Kong and even Southeast Asia.

At this time, Stephen Chow was extremely busy with the filming of "Shaolin Soccer," but he did not neglect the release of "Happy Family," which was entrusted to him by Wang Sheng.

He admired Wang Sheng's talent and courage, and deeply understood the importance of maintaining close cooperation with the booming "Shengying Group" in mainland China for future development. He personally oversaw the screening strategy, using his reputation and connections to secure prime theaters and screenings for "Happy Family" in core locations such as Causeway Bay JP, Mong Kok Broadway, and UA Admiralty.

The Hong Kong promotional campaign used the slogan "Recommended by Stephen Chow, performed by a Korean star, touching beyond borders," cleverly leveraging Stephen Chow's comedic authority to endorse this heartwarming and fantastical film.

Although Stephen Chow did not star in the film, his recommendation still holds great appeal among Hong Kong audiences.

……

Inside a modern multiplex cinema in Jongno-gu, Seoul.

At 7 p.m., the theater screening of "Happy Family" was 80% full. The audience consisted mostly of young couples and groups of friends, including many film fans who were curious about "Wang Sheng's works" because of "A Little Thing Called First Love".

On screen, Cha Tae-hyun plays the unlucky male lead "Sang Man-nung," who experiences all sorts of hilarious mishaps. Kim Hee-sun plays a nurse, and other Korean stars play "ghost family members," who appear one after another, asking him to fulfill their wishes.

The film retains the core warmth of the original "Happy Family" about family, memory and redemption, but it has been fully localized in terms of details and jokes, so that Korean audiences can watch it without any cultural barriers (it is completely copied from the original), and the theater is filled with laughter.

As the plot progresses into the latter half and the emotional intensity gradually increases, when Shang Wanneng finally realizes the profound connection between these "ghosts" and his lost memories, many viewers are touched to the softest part of their hearts.

Sobbing began to echo from some corners.

At the end of the film, Shang Wanneng bids farewell to his "family," completes his self-redemption, and wakes up with new hope for life, filling the entire theater with a warm and touching feeling.

As the lights came on, many audience members, with tears in their eyes but satisfied smiles, began to leave.

"I didn't expect it to be so funny, and then so touching at the end." "Cha Tae-hyun and Kim Hee-sun acted so well, and the story was also very special."

"I heard the original idea was from a Chinese director? That's really impressive."

Similar comments circulated among the departing crowd.

Although it lacks the subversive "pure love" impact of "First Love," "Happy Family" has won the favor of Korean audiences with its solid comedic foundation and sincere emotions.

……

JP Cinema, Causeway Bay, Hong Kong Island.

The atmosphere here is more direct and enthusiastic. Hong Kong audiences have always been very receptive to comedies and heartwarming films.

The fantastical setting, dense Hong Kong-style humor (dubbed), and heart-wrenching family core of "Happy Family" precisely hit the viewing preferences of Hong Kong audiences.

Wow, that's a really clever idea!

"That's hilarious! Poor guy!"

"Wow, it made my eyes well up with tears..."

The film ended with equally enthusiastic applause. For Hong Kong audiences accustomed to gunfights, police dramas, and slapstick comedies, "Happy Family" offered a fresh yet heartwarming cinematic experience.

……

The first weekend passed quickly.

The data was gradually compiled onto Zheng Taiyuan's desk.

In South Korea, thanks to positive word-of-mouth and precise marketing, "Happy Family" attracted 350,000 viewers in its opening weekend, with preliminary estimates suggesting a box office of nearly 2 billion won.

While this achievement cannot be compared with top Hollywood blockbusters or films with top local star casts, it is still a remarkable performance among Asian co-productions and even mid-budget local films of the same period.

Media reviews were mostly positive, praising it for "successfully wrapping a touching family core within a commercial comedy framework" and calling it "a heartwarming work worth watching recently."

In Hong Kong, thanks to the efforts of Stephen Chow's team, "Happy Family" grossed HK$2.8 million in its opening weekend, making it into the top five at the box office.

Considering the competition from several strong films released at the same time, this achievement is already considered a success, demonstrating the film's potential in the Hong Kong market and the strong distribution capabilities of Stephen Chow's team.

Holding the report card, Zheng Taiyuan breathed a long sigh of relief, but then an even stronger desire welled up in his heart.

He closely monitors the mainland market through his own channels.

The news that "My Sassy Girl" raked in 1765 million RMB in its opening weekend, breaking Wang Sheng's personal record, exploded in his ears like a thunderbolt.

He carefully studied the reports about the movie. The subversive character design, the unique blend of laughter and emotion, and the social discussions it sparked in mainland China all made his heart race.

"This is the real blockbuster! The next big thing!" Zheng Taiyuan paced back and forth in his office, his heart pounding with excitement.

The success of "First Love" gave him a taste of success, while the steady performance of "Happy Family" solidified his position.

However, if he could bring a phenomenal work like "My Sassy Girl" to South Korea, or even promote a Sino-Korean co-production, his status in the South Korean industry would no longer be that of an "adventurer," but a true "trendsetter" and "strategist."

This will greatly enhance his bargaining power when negotiating with major entertainment groups such as CJ and Lotte.

But this time, he wants more than just to bring them in.

He wanted something on a higher level—a remake made in South Korea.

For him, a domestic remake meant significantly less resistance from the government, as it would result in a purely Korean film, and more importantly, it would avoid paying exorbitant import fees. However, it might offend Wang Sheng…

He needs to prove his sincerity, and even more so, his "loyalty" and unique value.

Jung Tae-won rubbed his temples in frustration and muttered, "It's really hard to find a beauty like Kim Hee-sun..."

(End of this chapter)