Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 483, Section 481: Farewell

Los Angeles time, July 11, 2003, afternoon.

The familiar conference room at New Line Cinema's headquarters once again became the stage for farewell. The sunlight was still intense, streaming through the glass curtain wall and illuminating the interior, yet it also seemed to emphasize the impending separation.

Around the conference table, almost all of New Line Cinema's core decision-making team were present: co-CEOs Robert Shea and Michael Lynn, senior vice president of international operations Kevin Brown, head of production Toby Emmerich, and chief financial officer Mark Riddell.

This lineup is not only a summary of the brilliant collaboration over the past few months, but also reflects their high respect and reluctance to part with Wang Sheng, the "God of Wealth" and "Miracle Director".

A complex emotion filled the air, a mixture of the joy of a successful collaboration and the regret of impending separation.

"Your Majesty, is it really impossible to reconsider staying?"

Robert Shea spoke first, his tone filled with sincere urgency: "Hollywood needs fresh blood and amazing vision like yours. 'The Museum,' 'The Chainsaw' series, and the future blockbusters 'Spy' and 'Twilight'... you've proven your worth time and time again."

This is the heart of world cinema, with the most mature industrial system and the broadest market stage. If you're willing, New Line Cinema can provide you with top-tier resources and the most freedom in your creative process.

Michael Lynn chimed in, his words even more direct: "Wang, we can sign another long-term strategic cooperation agreement, or even an exclusive one. Funding, projects, distribution—none of that will be a problem. Just think how many miracles we can create together? Staying in Los Angeles will allow your name to be etched into the Hollywood legends even faster."

Kevin Brown said emotionally, "Wang, the past six months of collaboration has been the most enjoyable experience of my career. Your efficiency, your precision, and your market insight are unmatched. New Line is now deeply intertwined with you, and we hope this success can continue."

Despite the earnest attempts by the senior executives of the new production line to retain him, Wang Sheng maintained his usual calm smile.

He was well aware of the sincerity behind those words, and he also understood how dazzling the results he had achieved in his "short-term operations" in Hollywood over the past six months had been.

But he is even clearer about where his roots lie and what the core of his long-term strategy is.

“Robert, Michael, Kevin, and everyone here,” Wang Sheng’s gaze slowly swept over the crowd, his tone steady and firm, “Thank you for your kindness and for inviting me to stay. The collaboration with New Line Cinema over the past six months has indeed been very pleasant and has achieved success beyond expectations. I have benefited greatly from Hollywood’s industrial system and global channels.”

He then changed the subject, continuing, "However, my roots are in China. Shengying Media is undergoing a crucial transformation and expansion domestically, and its A-share listing plan is in its final countdown."

There are battlefields there where I need to personally oversee and command, and there are even larger markets waiting for us to cultivate and develop.

I have never forgotten my plan of short-term development combined with long-term strategic planning. Hollywood is an important part of my global strategy, but it is by no means the whole.

He paused, then explained further: "Moreover, my cooperation with New Line will not be interrupted because of my departure."

The marketing and distribution of *Spy Kids* requires your full commitment. I've laid the foundation and set the direction for the *Twilight* project; my team will work seamlessly with you on the follow-up. We remain our closest partners. You are my strongest allies in Hollywood.

Seeing that Wang Sheng was determined to leave and had a valid reason, the senior executives of New Line, though regretful, could only accept this reality.

They are all shrewd businesspeople who understand that forced relationships are never good, and that maintaining a good cooperative relationship is the way to go in the long run.

“Alright, Wang, since you’ve made your decision, we respect your choice.” Robert Shea sighed, then rallied his spirits. “The doors of New Line are always open for you. We will always prioritize working with you on any project, any time.”

“Thank you for your understanding.” Wang Sheng smiled and nodded, then offered his final key arrangement for the Twilight project: “I have a suggestion regarding the director of Twilight.”

All eyes immediately turned to them. Choosing a director was undoubtedly the most crucial aspect of the project.

“I recommend Katherine Hardwicke to direct this film,” Wang Sheng clearly stated the name.

“Katherine Hardwick?” Toby Emmerich quickly searched his memory for information about the director. “She’s mainly worked as an art director and co-writer… The independent film ‘Childhood Nightmare’ received good reviews, showing her sensitivity in dealing with adolescent psychology and borderline emotions… But can she handle this kind of commercial genre film with fantasy elements?”

Wang Sheng's recommendation of Katherine Hardwicke was naturally based on his memories of her "past life." It was this female director who successfully brought the first Twilight film to the screen, accurately capturing the core audience with her unique visual style and delicate grasp of the emotional entanglements of teenagers, making a significant contribution to the explosion of this huge IP.

At that point in 2003, she was indeed a "newcomer" director whose potential had not yet been fully realized.

“I’ve read her novel ‘Childhood Nightmare’,” Wang Sheng explained confidently. “She captures the restless, sensitive, and yearning psychological state of teenagers very accurately, and the visual composition is also very distinctive and emotionally intense.”

At the heart of Twilight is the dangerous yet passionate youthful love between Bella and Edward, and the subtlety of this emotional portrayal is far more crucial than the grand fantasy scenes.

Director Hardwicke has the ability to make this kind of 'dancing on the edge of a knife' love story captivating.

As for the fantasy elements and action scenes, we can provide her with experienced assistant directors and a strong behind-the-scenes team to assist her.

Seeing the thoughtful expressions on the faces of the New Line executives, he added, "Giving her a chance is also giving Twilight a possibility of being more authorial and emotionally resonant. I trust my judgment."

With Wang Sheng's "Midas touch" precedent, his recommendation carries immense weight.

After a brief exchange, Newline's senior management quickly agreed to contact and evaluate Katherine Hardwicke.

Wang Sheng then clarified his role in the Twilight project: "In this film, I will not be the director, but will participate as an investor, co-owner of the copyright, co-producer, and co-writer."

I will oversee the core direction of the story and the character development (especially the integration of Eastern characters), and review the script and sample footage at key junctures. However, the day-to-day production management and directing will be handled by you and director Hardwick (if finalized).

This positioning ensured his control over the core interests of the project and his dominance over the creative direction, while also freeing him from the tedious daily shooting.

Finally, he mentioned an arrangement that surprised New Line executives but also seemed reasonable: "In addition, based on the screenplay and world setting of the Twilight movie, I plan to develop a novel of the same name in parallel."

"A novel?" Kevin Brown asked with some curiosity.

“Yes.” Wang Sheng nodded, his tone flat, as if he were talking about something very ordinary. “Movies are for the general public, while novels can delve deeper into the inner world of the characters, supplement the details that movies cannot fully show, and build a more complete Fox Town and vampire/werewolf legend.”

This not only benefits the film, generating buzz and publicity, but it also serves as an independent intellectual property and revenue stream. I will be credited as the author of the novel, but I will hire suitable ghostwriters to handle the actual writing, ensuring the content meets my requirements and the overall tone of the film.

In Wang Sheng's view, the Twilight project, in terms of its artistic content, is perhaps like the Tiny Times, which he remembers as a phenomenal box office hit but also accompanied by a lot of controversy. Apart from the expected high popularity and amazing box office, its artistic value and cultural depth are not worth his precious directorial efforts.

He had a very clear vision for it: a lucrative commercial product precisely targeting the youth market. Directing such a film held little interest for him. His directing career had more important goals to achieve.

With everything arranged, the time to say goodbye finally arrived.

Wang Sheng shook hands firmly with each of the senior executives at Xinxian again.

"Wang, have a safe journey! We look forward to your early return!" Kevin Brown patted Wang Sheng's shoulder forcefully.

“Keep in touch, Wang! We’ll let you know as soon as we hear the box office success of ‘Spy’!” Michael Lynn said.

"The Chinese market is now in your hands!" Robert Shea concluded.

……

After everything was arranged, at 10:7 AM Los Angeles time on July 12, Wang Sheng and his entourage boarded an international flight back to Beijing.

(End of this chapter)