Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 478, Section 476: Twilight Appears

In the conference room, as the general framework for the Saw series rights transaction was finalized, the atmosphere became increasingly relaxed and harmonious.

The executives at New Line Cinema were in high spirits, having secured a potentially huge horror film franchise and Wang Sheng, a partner who had repeatedly created miracles, through what they considered a near-free deal.

The waiter promptly served fresh coffee and snacks, the subtle aroma dispelling the last vestiges of tension from the previous negotiations.

Kevin Brown leaned back comfortably in his chair, gently stirring his coffee with a small silver spoon. His gaze, filled with undisguised admiration and curiosity, fell upon Wang Sheng, who sat opposite him, still maintaining a calm and composed demeanor.

“Wang,” Brown said with a smile, breaking the brief silence, “you mentioned before that we could talk about the possibility of ‘other projects’ later on in the later stages of Spyhouse. I’m itching to know if you have any amazing new ideas forming in your mind? You know, we’re really looking forward to any of your ideas right now.”

As soon as he finished speaking, Robert Shea, Michael Lynn, and the others turned their attention back to Wang Sheng, their eyes filled with a sense of inquiry.

The global box office miracle of "Night at the Museum", the low-budget horror effect of "Saw", and the upcoming, seemingly high-quality "Spy Kids" demonstrate Wang Sheng's precise control and business acumen across different film genres in a short period of time, which has made it impossible for seasoned executives at New Line Cinema to view him with ordinary eyes.

Every word he utters now could represent another gold mine in the future.

Wang Sheng met the expectant gazes of the crowd, and the corners of his mouth curved upwards almost imperceptibly, as if he had anticipated this question.

He didn't answer immediately, but instead slowly picked up the glass of water in front of him and took a sip, as if he was carefully choosing his words, or perhaps deliberately creating a sense of suspense.

He put down his water glass, his gaze slowly sweeping over everyone present, before speaking in a tone that suggested a preliminary idea rather than a fully developed one: "I do have a preliminary idea, a story about love, but not entirely about love. I'll call it for now... 'Twilight'."

"Twilight?"

Michael Lynn repeated the name thoughtfully. "It sounds... a bit melancholic, and a little mysterious. Is it about vampires?"

As a production manager, he was quite sensitive to such fantasy-related terms.

“You could say that, but the core isn’t traditional gothic horror.” Wang Sheng began to outline the prototype of this IP that would sweep the globe in the future. Of course, it was a version that he had refined and that met current market expectations. “The story is set in a small town in the American Northwest, where it’s rainy all year round and never sees the sun—'Fox'.”

He gestured roughly in the air with his hand, as if describing the damp, oppressive environment that was filled with the atmosphere of a primeval forest.

"The protagonist is Bella Swan, a sensitive and somewhat aloof Chinese-American girl in an ordinary high school. She leaves the familiar sunshine of Phoenix and moves with her father to this almost isolated town. Then, at her new school, she meets a family... the Cullen family."

Wang Sheng deliberately slowed down his speech, making each word carry implications: "They are different from others, exceptionally beautiful, with an otherworldly temperament, pale skin, and... they never seem to have deep interactions with others."

Especially the adopted son named Edward Cullen, whose attitude towards Bella was initially strange and repulsive, as if there was something about her that he both utterly loathed and irresistibly attracted to.

The meeting room fell silent, with only Wang Sheng's steady narration breaking through the silence.

The executives at Newline were captivated by this opening, which was full of contradictions and tension.

“As she got to know them, Bella gradually discovered the secret of the Cullen family—” Wang Sheng paused, his gaze sweeping over everyone, “They are vampires who feed on animal blood and try to resist their primal desires and coexist peacefully with humans.”

"A vegetarian vampire?" Toby Emmerich raised an eyebrow; the concept intrigued him.

“That’s right,” Wang Sheng nodded. “They restrained their desire for human blood and hid in human society. As for Edward, his initial rejection of Bella was precisely because her blood had an extraordinary allure for him, and he was afraid that he would lose control and hurt her.”

"But love still blossoms amidst this extreme danger and tug-of-war," Kevin Brown interjected, his eyes gleaming. He had already sensed the intense dramatic conflict and adolescent emotional elements. "Forbidden love, eternal life versus the fragile human body, irresistible attraction versus potential mortal danger... God, this is practically tailor-made for young audiences!"

Seeing their interest ignited, Wang Sheng continued, "The core of the story is the love between Bella and Edward, a love that dances on the edge of a knife."

At the same time, a werewolf clan will be introduced, serving as the vampires' sworn enemies and another supernatural force, forming a more complex love triangle and increasing the story's conflict and world-building.

He did not mention more specific plot details from the original work, such as Victoria's revenge or the Volturi family, but only outlined a compelling and promising framework.

"It will be a movie that blends elements of youth, romance, fantasy, and thriller."

Wang Sheng summarized, "The target audience is very clear: teenagers, especially young women. They crave romantic, dangerous, and protective love fantasies."

Twilight satisfies all of these criteria. Furthermore, the vampire and werewolf premise attracts male viewers, ensuring a basic market presence.

Robert Shea leaned forward, his hands clasped on the table, his eyes sharp: "Wang, this idea is brilliant! It cleverly combines classic genre elements with a modern coming-of-age narrative, and its market positioning is extremely precise. I can almost foresee the frenzy it will generate among teenagers."

He paused, then cut to the chase, "How do you plan to cooperate?"

At this moment, all the executives held their breath.

Their recent collaboration on "Saw" gave them a taste of success and demonstrated Wang Sheng's ability to "turn lead into gold."

They were determined to win over Twilight, a film that seemed to have greater potential for a mass market.

Wang Sheng was already confident. Meeting Xie Yi's gaze, his tone was clear and firm, carrying an undeniable self-assurance:

"I'm also willing to share this series with New Line Cinema. The collaboration model can be similar to that of Saw, but the conditions will be different."

"First, based on my absolute control over the core concept and future direction of this series, I need New Line Cinema to bear all the production costs of the first Twilight film, as well as 70% of the production costs of subsequent films."

As soon as he finished speaking, Mark Riddell (CFO) frowned slightly, but seeing that Shay and Lynn made no move, he remained silent.

Bearing all the costs means New Line will assume most of the financial risk, but this is not uncommon in Hollywood collaborations with top producers/directors, especially when the other party has scarce creative resources.

“Secondly, I want 50% of the global box office and derivative revenue of the series,” Wang Sheng stated his second condition. This percentage was quite high, but considering that Wang Sheng not only provided the IP concept but would also likely be deeply involved in production and even directing, and given his past achievements, the New Line executives, after weighing the options, felt it was not unacceptable.

“So, what about the rights?” Michael Lynn asked. “What is the copyright sharing ratio?”

“Copyright sharing, also 50%,” Wang Sheng gave the answer, “but I have an additional condition for this series.”

He paused, making sure everyone was fully focused, before revealing his true move, one that was crucial to his future strategy:

"In this series, the main actors—I mean those with important roles who can influence the plot, not just those who make a cameo appearance—must include at least two Chinese actors."

A brief silence fell over the meeting room.

Kevin Brown blinked, seemingly a little taken aback: "Chinese actors? Wang, you mean... in a movie like Twilight, set in a small American town and centered around a Western vampire story?"

“That’s right.” Wang Sheng’s tone left no room for doubt. He had already prepared his explanation. “This is not a request made casually, but rather based on my strategic considerations regarding the global market, especially the Asian market.”

His gaze swept over the crowd, and he began to explain his reasons, his tone calm and persuasive:

"First of all, everyone at New Line should know that my company, Sheng Ying Media, has a powerful distribution network and promotional channels in China and even Asia. The success of 'Night at the Museum' and 'Shaolin Soccer' in Asia has proven this."

Introducing recognizable Chinese faces greatly enhances the film's appeal and sense of identification with Asian audiences, especially Chinese audiences. This cultural bond is irreplaceable by any marketing campaign, and it's why I chose to make the female lead a Chinese-American girl.

“Secondly,” he leaned forward slightly, exuding a sense of pressure, “this is not a forced insertion. The Cullen family is a vampire family that ‘adopted’ multiple children, and the members’ backgrounds can be diverse.”

Why can't there be one or two 'brothers and sisters' from the East? They could have unique 'abilities' or backstories, naturally blending into the main storyline, or even becoming an asset or test in Bella and Edward's relationship.

This not only enriches our worldview but also brings fresh cultural collisions, making the film more distinctive and topical in a globalized context.

Seeing the thoughtful expressions on the faces of the executives, he continued, "Think about it: a vampire or werewolf with an Eastern face, a mysterious aura, and possibly special abilities, appearing in a story full of Western fantasy elements—that in itself is an excellent marketing gimmick that can spark discussion in both Eastern and Western markets. This isn't just about political correctness; it's about market wisdom."

Robert Shea pondered, his fingers tapping the table unconsciously.

He admitted that Wang Sheng's words made sense.

Hollywood has been trying to open up the Asian market, especially the huge potential of the Chinese market.

Wang Sheng's proposal, which appears to be a condition, actually provides an excellent bridge.

"So, Wang, do you have any specific ideas about the roles and screen time of these Chinese actors?" Toby Emmerich was more concerned with the feasibility of the creative aspects.

“Of course,” Wang Sheng had already planned it out, “For example, there could be a member from China in the Kulun family who has an important role, interacts closely with the main characters, and has an independent storyline and room for development.”

Alternatively, a similar setup could exist within werewolf packs.

Specific characters and backgrounds can be discussed together during the script development stage, but I can guarantee that these characters will not be dispensable extras; they will be integral parts of the story, and their images must be positive and charismatic.

He concluded by emphasizing, "This is my bottom line. I believe that this condition, combined with the cooperation plan I previously proposed, is an extremely worthwhile deal for New Line."

You have gained a brand new collection with tremendous potential, as well as the key to seamless access to and deep exploration of the Asian market.

As a creative provider and one of the main beneficiaries, it's fair that I ensure my local market and cultural background are properly represented and respected in global cultural products.

Silence fell again in the meeting room, broken only by the low hum of the air conditioning system.

The key figures on the new line exchanged quick glances.

The conditions proposed by Wang Sheng were indeed somewhat unexpected, but upon closer examination, they were not unacceptable.

While bearing the production costs certainly concentrates the risks, the profit sharing can be as high as 50%.

While bringing in Chinese actors may require script adjustments, as Wang Sheng said, if handled properly, it can not only be harmless but could also become a highlight and a powerful tool for opening up the Asian market.

Most importantly, they were extremely optimistic about the concept of "Twilight" and Wang Sheng's ability to manage the project.

Robert Shea and Michael Lynn exchanged another glance and nodded almost imperceptibly.

“Wang,” Shay finally spoke, a smile appearing on his face, “your vision and perspective always leave a deep impression on us.”

The concept of Twilight is very appealing, and we believe it has the potential to become a global cultural phenomenon.

The cooperation terms you proposed... while somewhat unusual, are in principle agreed to by New Line, based on our previous successful cooperation and shared expectations for the future.

He paused, then added, "Specific details, such as the specific positioning of each role, the criteria for casting actors and the final decision-making power (Wang Sheng will inevitably demand a considerable amount of say), as well as contract terms, will also be left to our team to refine."

“Sure.” Wang Sheng stood up and extended his hand to Shay. “It’s a pleasure working with you, Robert. I believe Twilight will not disappoint you.”

"It's a pleasure working with you, Wang!" Shay gripped his hand tightly, and the other executives also stood up, their faces beaming with excitement and anticipation.

(End of this chapter)