Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 445, Section 443: Advancing on Two Fronts Simultaneously

Time flies like an arrow, and it's already the end of August 2002.

The summer heat in Beijing has not completely subsided, but there is already a hint of early autumn coolness in the air.

At the Beijing Film Studio—a vibrant land that has witnessed countless cinematic dreams and is now revitalized through reform and alliances—a crucial internal screening is about to take place.

After five months of meticulous filming and initial polishing, the rough cut of the Chinese fantasy epic "Night at the Museum" has finally unveiled a corner of its mysterious veil.

The screening was held in the largest mixing studio at the base. In addition to director Wang Sheng, executive producer Han Sanping, lead actor Jackie Chan (who was unable to attend due to overseas schedules but sent a representative), and core executives from Shengying Media and China Film Group, the attendees included senior editors, sound engineers, and some trusted industry experts from alliance units such as Beijing Film Studio and Changchun Film Studio.

The atmosphere was serious and solemn. Everyone understood that this two-hour rough cut would determine the future fate of this big-budget film.

The lights went out, and the screen lit up.

The film opens with a melodious yet slightly mysterious soundtrack.

Jackie Chan vividly and relatably portrays the plight of unemployed martial arts coach Chen Dabao (played by Jackie Chan) as he faces setbacks in the job market and reluctantly accepts a night shift security guard job at the Chinese Civilization Museum.

When he was on his first night shift, the ancient bells rang out, and as the bronze artifacts shone, the terracotta warriors, Tang tri-colored pottery, and figures from the murals in the museum seemed to "come to life," a low gasp of amazement rippled through the room.

The rough cut basically establishes the complete framework of the film: Chen Dabao goes from initial fear to building friendships with these "resurrected" historical figures, and together they deal with a sudden crisis (a group of international thieves who want to steal national treasures), interspersed with various jokes, action scenes, and anecdotes about Chinese civilization told through the words of historical figures.

The visual effects team's initial composite images are already quite impressive. The terracotta army's uniform steps, the graceful dance of Tang tri-colored ladies, and the majestic aura of bronze mythical beasts all demonstrate an industrial quality far exceeding the current domestic average.

Wang Sheng sat in the center of the audience, holding a notebook in his hand, occasionally jotting something down in the dim light reflected from the screen.

As the film ended and the lights came back on, a polite round of applause broke out, but everyone's eyes were drawn to Wang Sheng.

Han Sanping spoke first, his tone full of affirmation: "The overall framework is very solid, Jackie Chan's performance and action choreography are as excellent as ever, and the special effects are also very well done. The story is both funny and touching, and rich in cultural connotations. Wang Sheng, you have once again led the team to complete a difficult challenge."

Several other executives and experts echoed this sentiment, affirming the film's creativity, production scale, and entertainment value.

After everyone had spoken for a short while, Wang Sheng slowly stood up and walked to the screen.

His gaze swept over everyone present, and his steady voice echoed in the studio:
"Thank you, Mr. Han and everyone, for your recognition. The rough cut has achieved the expected basic effect, but precisely because of this, we cannot be satisfied with this."

The goal of *Night at the Museum* is not merely to be a decent commercial film, but to become a benchmark work that can compete with Hollywood in the global market and truly showcase the charm of Eastern fantasy.

He opened his notebook and clearly pointed out the areas that needed to be edited and optimized:
"First, there's the issue of pacing. The first forty minutes of daily routine setup is a bit too long and needs to be compressed by another fifteen minutes to allow the core concept of 'resurrection' to be triggered earlier."

The emotional connection between Chen Dabao and his son is well-developed, but some of the dialogue could be more concise, conveying more information through gestures and facial expressions.

"Secondly, the distribution of jokes. Jackie Chan's physical comedy is great, but some of the dialogue scenes involving interactions with historical figures feel a bit forced. The editing needs to pay attention to the balance between movement and stillness, so that the jokes can be integrated more naturally and smoothly into the plot, rather than being funny for the sake of being funny."

"Third, the emotional intensity. The scene at the end where Chen Dabao bids farewell to the terracotta warrior general who is about to 'sleep' could be more emotionally charged. I need to see more close-ups of his eyes, and the background music should be more layered during the climax to push the sense of friendship and inheritance that transcends time to the extreme."

"Fourth, refine the special effects. It's understandable that many special effects are still unfinished. But in the fine-cutting stage, we must adjust the editing points according to the requirements of the final effect. Especially for the two big scenes, 'Awakening of the Bronze Beast' and 'Final Battle,' the shot composition needs to be more impactful, leaving enough room for the special effects to perform, and we cannot compromise."

He paused, then said firmly, "My requirement is that the final cut and most of the special effects shots, as well as the initial audio mixing, must be completed by September."

Time is tight and the task is heavy, but quality cannot be compromised. I will personally oversee post-production. In late September, I will take the finished film and begin planning its global release. North America, Europe, Japan, South Korea… we want the whole world to experience the wondrous nights of Eastern civilization this autumn and winter!

Wang Sheng's words were like a shot in the arm, and also like an unquestionable military order.

The previously relaxed atmosphere instantly became tense. The heads of the editing, special effects, and sound effects teams all took their orders and said they would immediately organize their teams to tackle the challenges according to the instructions.

...September 1, Los Angeles International Airport.

Wang Sheng arrived quietly with a small team.

Unlike the high-profile celebration of "Shaolin Soccer" last time, this trip was more low-key and pragmatic.

His core objective was the film "Saw," which had a small budget but could potentially create a huge stir in the future.

Zhao Jingsong was already waiting at the airport. He looked even more capable, and his eyes were full of entrepreneurial passion.

On the way to Burbank, he gave Wang Sheng a detailed report.

"Mr. Wang, as per your instructions, 'Peak Production Company' has been registered and all legal documents are complete, thus legally severing ties with Shengying Media."

The office is located in a reasonably priced office building in Burbank, and the core team members are already in place, including an experienced executive producer responsible for day-to-day operations and finance.

"For the Saw project, the executive director was ultimately chosen to be a new Malaysian Chinese director named James Wan. He had a very good grasp of the suspense atmosphere and the script, and his asking price was reasonable."

The two male leads, Leigh Whannell and Cary Elwes, have signed contracts, and the other supporting actors are also in place. The main set, the 'abandoned toilet,' has been perfectly constructed at the studio according to the designs you previously approved. All pre-production work is complete, and filming can begin at any time.

Wang Sheng nodded in satisfaction: "Well done."

On September 2, Wang Sheng met with the creative team of "Saw" in the temporary office and meeting room of "Peak Production".

Executive director James Wan is still a somewhat green young man, but when he talks about the film's concept and horror aesthetics, his eyes shine with a determined light.

The two lead actors, Leigh Whannell and Cary Elwes, are very curious about this mysterious behind-the-scenes boss from China.

Instead of adopting a superior attitude, Wang Sheng engaged in an in-depth script reading and creative exchange with everyone.

He emphasized the core of the film—"It's not about being gory for the sake of gore, but about exploring the value of life and human choices through extreme predicaments. The suffocating feeling of being in a confined space and the psychological pressure are the soul of the film."

His insights were precise and profound, winning over the creators who might have initially had doubts about this "financial backer."

On September 3, filming for "Saw" officially began at a studio outside Los Angeles.

There was no grand opening ceremony, only a brief blessing and group photo of the main cast and crew.

Wang Sheng personally went to the scene to watch the filming of the first shot—the gloomy, dirty, and despair-filled abandoned toilet, which, under the lighting technician's arrangement, presented a chilling visual effect.

Because the script's scenes were relatively concentrated, and Wang Sheng and director James Wan had thorough communication in the early stages, the filming process went exceptionally smoothly.

Wang Sheng spent nearly a week on set, ensuring that the film's tone, acting style, and cinematic language met his expectations. He then handed over directing authority entirely to James Wan, only requiring Zhao Jingsong to report on the progress daily.

On September 23, after just twenty days, filming for all scenes of "Saw" was completed.

The efficiency and cost control were so high that even the local staff, who were used to Hollywood production processes, were amazed.

At the wrap party, Wang Sheng reappeared, raised his glass to thank all the crew members for their hard work, and promised to secure the best distribution resources for the film.

He then handed over all the footage he had shot to Zhao Jingsong and James Wan, who were responsible for liaising with professional Hollywood post-production companies to handle editing, music composition, sound effects, and color grading.

(End of this chapter)