Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 369-367: Dog Leash

In late September, the autumn colors had deepened in Beijing, and the sky was clear and high.

Jingxin Building.

In the conference room of Shengying Media.

Cai Yinong sat in the main seat, with a slim Blackberry phone and a printed list in front of her.

Her expression was capable, her tone calm, yet every word was clear and unquestionable.

Opposite her were several Hong Kong filmmakers who had been selected by Li Tingting, received Wang Sheng's business card, and expressed a clear intention to cooperate: Lin Xiaoming of Universe Films, Xu Ke with a new project idea, and a senior producer representing some independent producers who came to explore the project.

"Thank you for your trust in Shengying Media and for your emphasis on the mainland market."

Cai Yinong got straight to the point, without any unnecessary pleasantries: "Mr. Wang is open to cooperation with his counterparts in Hong Kong, but there are some basic principles that need to be clarified from the outset."

She paused briefly, glanced at the three people present, and gently pushed the documents in front of her forward.

Regarding the specific cooperation methods, please be aware of the following points:
First, the main investment in the project must be led by Shengying Media. This means that Shengying needs to hold an absolute share of the investment and corresponding decision-making power.

Second, the project is classified as a "domestic film" or "domestic TV series," rather than a "co-production." This is related to future approval processes, distribution treatment, and policy incentives.

Third, based on the above point, the core creative team of the project must have a certain proportion of personnel from mainland China.

Specifically, the screenwriting team must include mainland screenwriters who have substantial say; at least one of the male or female leads, or an equally important core role, must be played by a mainland actor; and the production team (including key positions such as director, cinematographer, art director, and editor) must also include experienced mainland personnel, not just nominal members.

Fourth, the final copyright of the project belongs to Shengying Media. The partner will be entitled to a share of the agreed-upon box office or broadcast revenue.

The moment these rules were announced, the air in the meeting room seemed to freeze.

Lin Xiaoming's smile was somewhat stiff.

He originally thought that with Universe's mature production experience and the appeal of Hong Kong stars, he could at least secure joint investment, shared copyright, or even operate as a co-production, which would be much more flexible in terms of distribution and content censorship.

Sheng Ying's conditions are practically turning them into a pure "contract manufacturing" team, stripping them of control over the project and most of the long-term benefits (copyright).

Xu Ke's brows furrowed even more deeply.

Directors like him always treat their works like their children, pursuing complete control over their creative process.

The inclusion of mainland talent in the screenwriter and lead actor will undoubtedly constrain his wildly imaginative ideas.

Although he craved funding and market access, the harsh conditions made him feel that his dignity as an artist was being challenged.

The senior producer then tentatively asked, "Mr. Cai, is there any room for negotiation on these terms? For example, regarding the investment ratio, or copyright sharing? After all, the project and team we brought have considerable market value..."

Cai Yinong smiled slightly, but her smile carried a distant firmness: "This is the tone set by President Wang, and there is no room for discussion."

Mr. Wang often says that the foundation of cooperation is win-win, but the premise is that the rules are clear.

Shengying provides access to the mainland market, a vast distribution network, and ample financial support.

We must ensure that projects meet the aesthetic and policy requirements of mainland audiences, ensure the safety and return on investment, and, more importantly, ensure that we firmly grasp the initiative in culture and the leading role in industrial development.

If you can accept this framework, then we can discuss specific projects; if not, thank you all for visiting.

Her words were calm, yet carried the confidence of someone backed by a vast empire, perfectly demonstrating her attitude of "cooperate if we can, and let it go if we can't."

Wang Sheng also knew that the conditions he proposed were quite harsh.

But does the Hong Kong entertainment industry have any choices now?

They're nothing but a bunch of stray dogs.

If they had the ability, they would have gone to Hollywood long ago.

The news quickly spread within a small circle of the Hong Kong film industry.

Suddenly, undercurrents surged and criticisms arose.

Some filmmakers who were used to the previous co-production model (even one dominated by Hong Kong) felt extremely uncomfortable.

"This is ridiculous! Isn't this treating us like laborers? We can't even get the copyright, what's the point of all the hard work we put into developing this project?" A producer known for his fiery temper slammed his fist on the table at a private dinner.

"They want our people, our experience, and in the end, the work belongs to them? And they even want to send in mainland screenwriters and actors to give orders? Do they really think Hong Kong Island has no one left?" another director said indignantly.

"Wang Sheng is trying to 'swallow up culture'!" Some even went so far as to accuse him of this serious crime.

Discontent is spreading.

Wang Sheng's tough stance shattered their illusions that they could exchange their experience and celebrity resources for an equal cooperative status.

Many people began to observe, hesitate, or even back out.

However, amidst the clamor, there are not no rational voices.

After the initial shock and dissatisfaction, Lin Xiaoming forced himself to calm down.

He carefully analyzed the current situation, noting that the shrinking Hong Kong market was an undeniable fact, Hollywood blockbusters were impacting the global market, and the mainland market was showing terrifying potential stimulated by "Shaolin Soccer".

Shengying Media, backed by China Film Group, controls cinema chains.
Wang Sheng himself has a keen eye and exceptional operational skills.

Rather than starving while clinging to past glories and so-called "dominance," it's better to adapt to the new rules, survive, and get a share of this largest market.

"He has channels, a market, and money. What do we have? Only experience and some has-been celebrities."

Lin Xiaoming analyzed to his confidants, "Co-productions sound good, but there are more and more restrictions."

He directly categorized it as a domestic film, which, although stringent, might actually make the censorship and distribution process smoother.

The key is... he can make movies profitable. "Shaolin Soccer" grossed 200 million! We're still struggling to make tens of millions of Hong Kong dollars at the box office!

Self-interest is the ultimate driving force.

After careful consideration, Lin Xiaoming decided to back down.

He instructed his subordinates to immediately compile a list of the company's best projects, most suitable for adaptation in mainland China, and to prepare for selection and packaging according to Shengying's rules.

Xu Ke, who had just experienced the disastrous failure of "The Legend of Zu Mountain," made a similar decision.

The huge investment losses put him under immense pressure. He desperately needed a successful work to prove himself and stable financial support to realize his costly visual concepts.

Although Wang Sheng's conditions are demanding, he can provide top-tier resources and market guarantees.

An artist's lofty ideals must be compromised in the face of reality.

"Let's collaborate on one film first and see how it goes. If he truly respects the creative process and is only controlling the direction..." Xu Ke thought to himself after an internal struggle.

Some more astute independent producers, however, saw another way—since they couldn't compete for dominance, they focused on becoming providers and implementers of high-quality content, relying on Shengying's support to earn stable production fees and considerable dividends.

They began actively seeking story themes that aligned with mainstream values ​​in mainland China while also possessing commercial potential.

……

(End of this chapter)