Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 496, Section 494: Summary
In October, the capital city is already filled with the colors of autumn. Golden ginkgo leaves adorn the streets and alleys, adding a touch of tranquility and serenity to this ancient capital.

The news of Wang Sheng's return to China, just like his quiet departure, was not announced with great fanfare.

The buzz surrounding his appearance on the cover of Time magazine hadn't died down when countless interview requests from the media came pouring in. Phone calls, faxes, and even invitations delivered through various connections nearly broke down the door of Shengying Media's public relations department.

However, all these requests were politely but firmly rejected on the grounds that "Chairman Wang is busy with his schedule".

The only exception is the China Youth Daily.

This official media outlet, which has a wide influence among young people and has maintained a good working relationship with Wang Sheng and the "Shengying Group," was granted this valuable exclusive interview opportunity.

It was less of an interview and more of an in-depth conversation between friends, with the interviewer being Zhang Jianwei, a familiar face to him.

The interview was arranged in a small meeting room next to Wang Sheng's office. There were not many cameras set up, only a voice recorder and a reporter's notebook.

Wang Sheng changed into a comfortable dark blue cashmere sweater instead of a sharp suit, appearing casual and relaxed, a departure from the meticulously calculated public image he projected in Hollywood.

"Chairman Wang, first of all, congratulations on being on the cover of Time magazine. This has caused a huge stir in China." Zhang Jianwei got straight to the point, his tone filled with familiar congratulations.

Wang Sheng smiled slightly, picked up the teacup in front of him and took a sip. It was a fine Longjing tea: "Jianwei, let's skip the formalities. The Time magazine cover is more about Western media's curiosity and definition of a 'phenomenon' that they can't fully understand yet can't ignore. It represents a certain level of attention, but there's no need to over-interpret it."

His tone was calm, carrying a sense of calm and reflection from a long journey, without any hint of arrogance or self-satisfaction.

"During your nearly year-long stay in Hollywood, from 'Night at the Museum' to 'The Pursuit of Happyness,' you have achieved remarkable success. Could you share your biggest takeaway from the international stage?" Zhang Jianwei steered the conversation.

Wang Sheng pondered for a moment.

"I have many feelings, but the most important one is,"

He said slowly, “Rules and respect. Hollywood has its own mature rules that have been in place for a century, from the producer-centric system to the global revenue-sharing system, from the union system to the rules of the awards season.”

To establish oneself there, one must first understand, respect, and skillfully utilize these rules. However, respect does not equate to blind obedience.

He paused, his tone becoming more resolute: "True respect comes from being able to bring them what they need—it could be amazing box office returns, a cultural perspective they've never explored before, or huge market potential."

When you have enough leverage and have proven your ability to 'play the game' or even 'play it better' within their rules, equal dialogue and deep cooperation become possible. This time, we've provided initial evidence of this through several films of different formats.

"You mentioned 'preliminary evidence,' does that mean you will continue to direct films in Hollywood in the future? Many movie fans are looking forward to your next international film being a great success." Zhang Jianwei asked a question that many people are concerned about.

Wang Sheng shook his head, his answer clear and unambiguous: "If there is a very suitable project that can inspire my creative impulse, I do not rule out the possibility of personally directing it in the future."

However, in the near future, my work focus will shift entirely back to China, and I will no longer be involved in Hollywood director projects.

He looked at Zhang Jianwei with a candid gaze: "There are several reasons. First, Shengying Media's A-share listing has entered the final sprint stage. This is a milestone in the company's development, and it requires my full commitment."

Secondly, the domestic market, after a brief period of fluctuation, is rapidly recovering and has enormous potential. Our own "film slate" plan, including "Kung Fu" competing in the Lunar New Year season, as well as a series of subsequent TV series and film projects, all require my guidance in terms of direction and quality.

He leaned forward slightly and said with an unquestionable confidence, "More importantly, through films like 'Shaolin Soccer,' 'Night at the Museum,' 'Saw,' and 'The Pursuit of Happyness,' which are very different in style but have achieved commercial and critical success, I have clearly demonstrated to all my international partners my accurate judgment and control over the tastes of audiences in different global markets, as well as different film themes and scales."

This demonstration of ability is far more valuable than simply directing one or two films. It paves the way and lays the foundation of trust for more diverse and in-depth international collaborations in the future, whether in investment, co-productions, or technological exchanges. Now, it is time for me to translate this proven momentum into tangible results in the domestic market and in our global strategic layout.

These words are both a summary of past achievements and a declaration of future strategy. He no longer needs to prove himself by constantly directing Hollywood projects; his "Midas touch" has been widely recognized. The stage ahead is for strategic planning and overall planning.

Zhang Jianwei quickly took notes, then astutely grasped another layer of meaning implied in Wang Sheng's words: "You mentioned 'technical exchange,' is this related to your long-standing efforts in cultivating domestic animation and special effects talents?"

We have noticed that there appears to be significant involvement of a Chinese technical team in your latest collaboration with Disney, *Zootopia*.

Wang Sheng nodded approvingly and then casually revealed another important message he wanted to convey in this interview.

“That’s right. This wasn’t a spur-of-the-moment decision, but a step I’ve been planning for a long time.” Wang Sheng’s tone carried a hint of seriousness that was barely perceptible. “Through the ‘Shengying Visual Effects Co., Ltd.’ established in deep cooperation with Beijing Film Academy, we have been systematically cultivating our own digital-age film and television production talents.”

One of the core conditions I insisted on for this collaboration with Disney on *Zootopia* was that at least 50% of our Shengying Group's technical staff be integrated into the core production team.

He explained in detail: "This is not a simple labor export, but a valuable 'study abroad' experience."

Our technical staff possess a solid foundation; they need to learn the most cutting-edge processes, technologies, and quality management systems in the world's top animation studios and in real A-list production projects.

Disney will provide six months of intensive training and full-process project guidance. This investment, while a cost in the short term, will, in the long term, sow the seeds and lay a solid foundation for the development of Chinese animation and film special effects over the next ten or even twenty years.

His eyes gleamed with anticipation: "I firmly believe that China does not lack talented and creative animation and special effects personnel; what they lack are opportunities to participate in top-tier projects and work alongside world-class teams."

I'm willing to be the one to build this bridge. In the future, we not only want to participate, but also to lead, creating animation IPs and visual wonders rooted in Chinese culture with global influence. This is another important responsibility and expectation of mine, beyond commercial success.

The interview concluded in a deep and candid atmosphere.

……

a few days later.

The China Youth Daily published an exclusive interview on its front and second pages entitled “Wang Sheng, the ‘Connector,’ Returns to China: He Has Proven His Control and Focuses on the Local Area and the Future.”

The report details Wang Sheng's understanding of Hollywood rules, his summary of his own abilities, the shift in his work focus, and the major announcement of his support plan and long-term vision for Chinese animation (special effects) talent.

As expected, the report, once published, once again sparked strong public attention and widespread discussion.

Industry insiders interpreted this as a signal of a strategic shift: "Wang Sheng is going to use the capital, reputation, and experience he has accumulated internationally to support his domestic base!"

"His emphasis on talent is beyond imagination; he's laying the foundation for the future of China's film industry!"

Moviegoers and young viewers were even more excited: "Master Sheng is awesome! This is the true vision of a big shot. Not only is he awesome himself, but he also leads the entire industry to new heights!"

"I look forward to Shengying producing animated blockbusters that rival Disney!" "With Wang Sheng in charge, I have full confidence in the future of Chinese cinema!"

International media outlets quickly followed up with translations of the reports. Professional media such as The Hollywood Reporter and Variety commented that "Wang Sheng's strategic contraction is wise, and he is translating his success in Hollywood into an absolute advantage in the Chinese market."

"His plans to develop technical talent reveal his ambition to build long-term competitiveness, which is perhaps more alarming (or worthy of attention) than the box office performance of a few movies."

Of course, there were also some dissenting voices, such as "the words are better than the deeds, and the effect remains to be seen" and "it's just another narrative packaged by capital," but these voices seemed insignificant in the surging tide of mainstream public opinion.

(End of this chapter)