Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 495, Page 493: Cover

the following few days.

Disney meeting room.

The legal, financial, and project managers from both sides sat around a long table, on which were scattered thick draft contracts and attachments.

Wang Sheng sat at one end, mostly listening silently as the two teams went back and forth over each clause. Only at crucial moments would he set the tone in a calm but unquestionable tone.

"The creative leadership and final editing rights are exercised by the joint project management committee established by Disney Animation Studios and Shengying Media, and Mr. Wang Sheng has the veto power of the committee."

This is Wang Sheng's bottom line, ensuring his core control over this project and preventing "Zootopia" from deviating from his predetermined path during development.

"Regarding the production team, it has been confirmed that 50% of the core technical positions (including but not limited to character design, scene concept, key animators, and special effects supervisors) will be filled by personnel dispatched by Sheng Ying Visual Effects Co., Ltd., and Disney will be responsible for providing no less than six months of pre-job intensive training and full-process project guidance. The relevant training and management costs will be included in the total project budget."

After repeated negotiations, Disney finally accepted this clause in its entirety, marking a breakthrough in the systematic entry of Chinese animation technicians into Hollywood's top production system.

Copyright and revenue distribution: Disney holds the dominant operating rights to the Zootopia brand globally (excluding Greater China), including but not limited to film distribution, merchandise, and theme park applications.

Shengying Media enjoys exclusive operating rights in Greater China (including Mainland China, Hong Kong, Macau, and Taiwan), as well as a 30% share of global box office and merchandise net revenue. Simultaneously, Shengying automatically obtains priority investment and distribution rights in Greater China for any future *Zootopia* film, television series, or remake.

"The preliminary total budget for the project is set at US$140 million, with Disney contributing 75% and Shengying Media contributing 25%. Shengying's investment portion can be partially offset by the human resource costs of its technical team..."

The terms were confirmed one by one, and the distribution of benefits was clearly defined.

Wang Sheng's goal is clear: to leverage Disney's resources to expand globally and allow the top-tier IP "Zootopia" to flourish along its original trajectory, while also maximizing control over technology, revenue, and regional dominance to pave the way for the future of Sheng Ying and Chinese animation.

When Thomas Schumacher, representing Disney, signed the final version of the contract approved by Wang Sheng and shook hands with Wang Sheng again, it marked the official launch of another more strategically in-depth cooperation project between the two parties, following "The Pursuit of Happyness".

"Wang, I hope that 'Zootopia' can create new miracles like 'Happiness'," Schumacher said sincerely.

“It will, Thomas. And it will last longer,” Wang Sheng said confidently.

Having dealt with the important contract matter, Wang Sheng did not linger.

He entrusted the subsequent team coordination and personnel deployment to Zhao Jingsong, the director of Shengying International Business Department, and Li Tingting, who were traveling with him, to coordinate remotely. He then took his core assistants and security team and boarded an international flight from Los Angeles to Beijing one morning in mid-October.

……

The first-class cabin offers spacious and private living.

Wang Sheng adjusted his seat, preparing to take a short nap during the long flight.

Just as he closed his eyes to rest, a pretty and well-trained flight attendant, with a professional and sweet smile, bowed and asked softly, "Mr. Wang, would you like the latest magazine? We have the latest issue of Time magazine (Asian edition) here."

Wang Sheng nodded casually.

The flight attendant gently placed a brightly colored, thick-textured weekly magazine on the table next to him.

When his gaze fell on the cover, even with his composure, his eyes couldn't help but pause slightly.

The main feature of the cover is a half-length portrait of him.

The photo was clearly carefully selected and post-processed, with the background blurred into a deep, dark tone.

He was wearing a dark gray suit, not looking at the camera. His profile was cold and aloof, his gaze fixed on the distance beyond the frame, his eyes deep and unfathomable. There seemed to be a faint, indefinable curve at the corner of his mouth—it wasn't a pure smile, but more like a calmness born from a deep understanding of the world, or perhaps a confidence in controlling the situation.

Above the portrait is TIME's iconic red-bordered logo.

Most striking of all is the cover title, displayed in bold, eye-catching font, which is placed over the portrait:
"THE CONNECTOR: How Wang Sheng Is Remaking Hollywood—And China's Dream."
Below the title is a smaller subtitle: "From 'Museum' to 'Happiness,' a new model for global cinema."

("From 'Museum' to 'Happiness': A New Model for Global Cinema.")
Wang Sheng picked up the magazine, his fingertips able to feel the coolness of the smooth, coated paper.

He turned to the inside pages and found the cover story written by James Mann.

With insightful writing, the article details his "miraculous journey" in Hollywood in just over a year, from the unexpected rise of "Shaolin Soccer", the global phenomenon of "Night at the Museum", the dark horse status of "Saw", to the critical and commercial success of "The Pursuit of Happyness".

The article not only analyzes his almost predictive vision for projects and his efficient and pragmatic production style, but also delves into his unique role as a "connector" that perfectly integrates Chinese capital and market potential with the Hollywood industrial system and global distribution network.

The report quoted extensively from Wang Sheng's original words in the interview, clearly conveying his core viewpoint: the Chinese film market is a rising giant, no longer a mere importer, but an important producer and collaborator in the future; Hollywood needs equal dialogue and mutual benefit, not condescension and preaching; he and the Shengying model he represents are explorers and practitioners of this new paradigm of cooperation.

The article also mentions his emphasis on technological change (digital cinema), his commitment to developing local teams, and the complex and intriguing construction of his personal business empire.

James Mann attempts to portray a new type of tycoon who combines Eastern wisdom with Western business logic, understands the rules yet transcends them, and is quietly changing the balance of power in the global film industry.

The overall tone of the report was one of amazement, analysis, and even a touch of awe. While it also contained the scrutiny typical of mainstream Western media, it presented him as a successful and phenomenal figure worthy of in-depth study.

……

China across the ocean.

Public opinion is boiling.

Sohu, Sina, NetEase... almost all of them prominently featured headlines related to Wang Sheng on their homepages.

"Wang Sheng graces the cover of Time magazine, hailed as a 'connector between Chinese and American films'!"

"Time Magazine In-Depth Report: How Did Wang Sheng Use the 'Shengying Model' to Break into Hollywood?"

"From a child of Beijing Film Studio to the cover of Time magazine, Wang Sheng embodies the new power of Chinese cinema!"

"Time magazine acknowledges Wang Sheng's achievements, marking a high point for Chinese films?"

The reports were mostly reprints or translations of articles from Time magazine, accompanied by his highly recognizable cover portrait. The comments section was even more lively.

"Awesome! Wang Sheng has made the Chinese people proud!"

"A Time magazine cover! That's a symbol of global influence!"

"The word 'connector' is well-chosen; we're no longer students, we're partners!"

"Shengying, hurry up and go public! I want to buy them all!"

"The Museum and Happiness are truly remarkable, and they deserve their accolades!"

"Looking forward to Kung Fu Hustle defeating Hero!"

Of course, there were also some dissenting voices, such as "overhyped," "too commercialized," and "personal life," but these were quickly drowned out by the overwhelming positive comments.

This is not just a personal honor, but also a landmark event interpreted by domestic media and the public as a sign of the rise of Chinese films and even Chinese culture on the international stage.

In 2003, shortly after China joined the WTO and was in a period of rapid development eager to gain global recognition, the fact that a Chinese person appeared on the cover of Time magazine in such a powerful manner generated an unprecedented sense of national pride and industry excitement.

(End of this chapter)