Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 493, Section 491: "The Times"

Los Angeles, the end of September.

A dry Santa Ana wind swept through the city, bringing with it a touch of the scorching heat of the inland desert.

The news that "The Pursuit of Happyness" has surpassed $4000 million at the North American box office is like the final piece of the puzzle, completely solidifying Wang Sheng's unshakeable and unique position in Hollywood.

If Shakespeare Soccer's nearly $100 million North American box office was a stunning surprise, and Night at the Museum's over $400 million global earnings were a resounding success for a commercial blockbuster, then Saw's unexpected rise to a huge success with a small budget was a testament to keen foresight...

The critical and commercial success of "The Pursuit of Happyness" demonstrated Hollywood's comprehensive and formidable control—from extreme commercial success to heartwarming art films, from Eastern fantasy to realistic American themes, he seemed omnipotent, and each time he precisely tapped into the pulse of the market and the times.

Not to mention, he has a huge, slowly awakening Chinese market behind him, and he himself is one of the masters of that market.

This three-in-one model of "content creation + capital operation + market control" is extremely rare in Hollywood history. The one who achieved the most success at the lowest cost directly enacted the "Paramount Act" against him.

John Woo's career has declined since the box office failure of "Windtalkers." Although Ang Lee is renowned worldwide for "Crouching Tiger, Hidden Dragon," his creative path leans more towards auteur-driven artistic exploration, and he has not deeply intervened in the core of Hollywood's capital and industrial system like Wang Sheng.

Wang Sheng is one of a kind.

Therefore, when those astute American heavyweight media outlets wanted to delve deeper into this sudden "Oriental miracle," their attention naturally turned to Time magazine, which had close ties with New Line Cinema and was known for its in-depth profiles and analysis of current trends.

In 1993, media giant Turner Broadcasting acquired New Line Cinema.

In 1996, Time Warner acquired Turner Broadcasting. Through this transaction, New Line Cinema and its sister company, Castle Rock Entertainment, were incorporated into the Time Warner Group.

At that time, Warner Bros. Pictures and New Line Cinema were sister companies on the same level within the group, both reporting to the group headquarters.

Newline operates largely independently, with its own development, production, marketing, and distribution departments.

Therefore, the relationship between the two is that of internal horse racing competitors. Whoever loses will be swallowed up by the other.

Until 2008, due to the poor box office performance of several films produced by New Line Cinema (such as "The Golden Compass"), resulting in huge losses, AOL Time Warner decided to carry out a major restructuring.

In February 2008, AOL Time Warner announced that it would significantly downsize New Line Cinema and integrate it into Warner Bros. Entertainment.

In other words, Time magazine and New Line Cinema are "cousin" companies.

However, New Line Cinema's relationship with this cousin is not particularly close. The media outlets that work closely with New Line Cinema are entertainment magazines, vanity fairs, premieres, The Hollywood Reporter, and variety shows, which focus on the industry.

New Line Cinema cannot influence Time magazine, and Time magazine's reputation does not require New Line Cinema to act as a go-between.

Wang Sheng, who was in Burbank discussing the next steps of cooperation with Disney, received an interview invitation from Time magazine. After a little thought, he accepted the invitation.

……

The interview was scheduled for a sunny afternoon at the end of September, in the living room of the suite at the Peninsula Hotel where Wang Sheng was staying.

Time magazine sent their senior culture critic and contributing editor, James Mann, a veteran journalist known for his insightful observations and sharp questions.

He arrived on time with a photographer and an assistant.

After a brief exchange of pleasantries, the interview began in the sofa area by the window. The Los Angeles skyline stretched out outside the window, and sunlight filtered through the sheer curtains, casting soft shadows on Wang Sheng's calm face.

Mr. Wang,

James Mann turned on the recorder and got straight to the point, “First of all, congratulations on the huge success of The Pursuit of Happyness. It seems quite different from your previous more… ‘high-concept’ commercial works. What prompted you to direct such a realistic film? Especially at this time of year.”

Wang Sheng leaned back slightly, relaxed, his gaze deep: "Mr. Mann, for me, film has never been just a business, or rather, not entirely. It's a language of communication, a tool for exploring human nature."

The core story of *The Pursuit of Happyness*—about love, responsibility, perseverance, and upholding dignity in adversity—transcends cultural and national boundaries. I chose it because it moved me. As for the timing…

He paused, his tone slightly meaningful, "Perhaps it is precisely because the world today is full of uncertainty and the frustration of grand narratives that people need to return to the individual and to the most basic human emotions to find strength and solace."

James Mann quickly took notes and pressed on, "So you believe that it was this 'emotional need' that fueled the film's success, rather than simply cinematic techniques or star power?"

"The success of a film is always the result of a combination of factors," Wang Sheng answered flawlessly. "The story is the foundation, the performances are the flesh and blood, and the timing is the soil. We just happened to plant a suitable seed and encountered the right season for it to grow." "Speaking of performances, Jamie Foxx wasn't the initial first choice. Did you take a huge risk by insisting on casting him? After all, Will Smith seemed like a more 'safe' option."

“Risks always exist.” Wang Sheng smiled calmly. “But I trust my judgment. Jamie has a quality honed by life, an inner resilience, which perfectly matches Chris Gardner’s character. The resonance between the actor and the character is far more important than fame. As it turns out, his performance captivated the audience.”

James Mann then shifted the conversation to a broader perspective: "Let's take a look back at your amazing Hollywood trajectory. Shake Soccer, a Hong Kong comedy, grossed nearly $100 million in North America; Night at the Museum, grossed over $400 million worldwide; Saw, a miracle in terms of cost-benefit ratio; and now the Pursuit of Happyness."

Your success seems to defy easy categorization. How would you define your role in Hollywood? Director? Producer? Strategist? Or… conqueror?

For his last word, he used "Conqueror," with a hint of barely perceptible provocation.

Upon hearing this, Wang Sheng gently shook his head, his tone remaining calm: "I am not a conqueror, Mr. Mann. Hollywood is not a city to be conquered. I prefer to see myself as a bridge, a 'linker' connecting Eastern and Western markets, capital, and cultures."

I bring Eastern stories, perspectives, and capital, while also learning from and utilizing Hollywood's mature industrial system and global channels. We are jointly creating value to meet the needs of audiences in different markets.

“A linker…” James Mann pondered the term, “a very interesting definition. So, as a ‘linker,’ how do you view the Chinese market behind you? What role does it play in this evolution of the global film landscape?”

This is a crucial question, and it's also the point that Time magazine and the entire Western world are most curious about regarding Wang Sheng.

"The Chinese film market..."

Wang Sheng spoke slowly, each word clear and powerful: "It's like a giant ship that has just set sail. It has a huge population base, a rapidly growing economy, and an ever-increasing demand for cultural consumption."

Currently, it may still be adapting to the rules of long-distance ocean shipping and adjusting its own engines, but its size and potential are beyond doubt.

He turned back and looked directly at James Mann: "It will not be an appendage of any market, nor will it be content to be merely a passive source of content. In the future, it will undoubtedly become an important source of content production and a source of capital export."

My company, Shengying Media, is currently undertaking a full-industry chain layout and market-oriented reforms in China. We are about to go public, and our goal is to build a flagship Chinese film company that can withstand storms and sail globally.

He paused, his tone carrying an undeniable confidence: "This process may take five or ten years. But the trend is irreversible. What Hollywood needs to learn is not how to 'educate' or 'look down on' this market, but how to engage in equal dialogue with it and find a mutually beneficial cooperation model. And I happen to have some resources and understanding on both sides, which can accelerate this process."

"So, you're setting the rules for future Sino-US film cooperation, or rather, competition?" James Mann astutely grasped the crux of the matter.

"Rules are determined by the market, by strength, and by common interests, not by any one person."

Wang Sheng said calmly, "I am just a practitioner, a pioneer. I use successful collaborative cases—'The Museum,' 'The Chainsaw,' 'Happiness,' and the upcoming 'Spy Kids' and 'Twilight'—to prove the possibility and feasibility of this new model."

He mentioned future projects in a casual tone, but it invigorated James Mann.

"For 'Twilight,' you insisted on casting Chinese actress Ms. Fan as the female lead. Is this a bold attempt to integrate Chinese elements more deeply into mainstream Hollywood genre films?"

"Fan is an extremely talented and professional actress, and she is perfect for the role."

Wang Sheng first affirmed Fan Xiaopang himself, saying, "As for 'Chinese elements,' I prefer to call it 'the integration of diverse cultures under a global perspective.' Films belong to the world, and so do audiences."

Why can't the female lead be of Chinese descent?
This in itself is a step forward in breaking stereotypes. I believe that a great story, paired with the right actors, can be accepted by audiences worldwide.

The interview lasted for nearly two hours.

James Mann's questions covered his entrepreneurial history, his insights into the differences between the Chinese and American film industries, his views on technological changes (such as digital cinema), and even touched on the complex relationship between his personal life and his business empire.

Wang Sheng's answers were consistently calm, clear, and logical, sometimes sharp and sometimes tactful.

He neither deliberately conceals his commercial ambitions nor shys away from expressing his firm optimism about the future of Chinese cinema.

He presents himself as a new type of film mogul who combines Eastern wisdom with Western business acumen, is well-versed in Hollywood rules, yet maintains his independence.

Finally, James Mann closed his notebook and posed a near-conclusive question: "Mr. Wang, if your portrait were to grace the cover of the next issue of Time magazine, what would you want the headline to be? Or what words do you think would best encapsulate you and everything you represent?"

"The title is not important, Mr. Mann."

Wang Sheng's voice was calm yet powerful: "The important thing is that times are changing. And Sheng Ying and I happen to be at the forefront of this transformation."

(End of this chapter)