Huayu: Starting from joining the mainstream entertainment industry in 96

Chapters 533 and 531: Sending Out Invitations to Heroes

Los Angeles time, March 1, 2004.

The morning light was just beginning to break in the suite at the Peninsula Hotel.

Wang Sheng, dressed in comfortable cashmere loungewear, stood in front of the floor-to-ceiling window, overlooking Los Angeles as it gradually awakened.

He didn't turn on the TV, nor did he look through the thick stack of newspapers that had been delivered—he could guess without even looking that the epic victory of hitting all eleven in *The Lord of the Rings: The Return of the King* would surely dominate the headlines of all the entertainment sections, and the reports about his "two out of eighteen hits" would certainly be analyzed and interpreted from various angles.

Those public opinion storms are monitored and guided by professional public relations teams.

His mind was completely focused on the "Chinese American Film Festival," which had just been established.

Partnering with Su Yantao's Eagle Dragon Media is just the first step. To truly build this film festival into an influential and authoritative platform, it is necessary to build a team of "initiators" in North America who are substantial enough to leverage resources.

"Boss, this is the preliminary list of potential co-sponsors and their background information, based on your requirements."

The assistant gently placed a printed document on the coffee table beside him, and at the same time handed him a cup of green tea brewed according to his habits.

Wang Sheng took the document, sat back on the sofa, and began to carefully read through it.

The list was drafted jointly by Sheng Ying's international business department and his private consultant in Hollywood, Robert White, and covers key figures in multiple fields, including academia, industry, law, and cultural exchange.

First: Richard Walter. Dean of the School of Cinematic Arts at UCLA, one of Hollywood's top screenwriting professors, and renowned in film theory and education.

He is not purely academic; his screenwriting works also have a certain commercial practice. He is relatively open-minded and has always maintained an academic focus on emerging film forces, including Asian cinema.

Inviting him to join the festival would inject academic credibility into it and build influence within the university community and among film critics.

Second: Mark Johnson. A veteran producer and a key member of the Academy of Motion Picture Arts and Sciences (the organizer of the Oscars), he has produced many well-known films and has extensive connections within the Hollywood Producers Guild.

More importantly, he has shown a strong interest in international co-productions in recent years, especially collaborations with Asia. His involvement will directly open channels with the Academy and the Hollywood production system, enhancing the film festival's recognition within the industry.

Third: Lindsay Dolan. A successful female producer who has worked in Hollywood for many years, she has produced famous works such as "The Silence of the Lambs" (though not credited, she was deeply involved in the early development) and "A Fish Called Wanda".

Known for her keen storytelling insight and support for unique authorial voices, she maintains close relationships with many independent filmmakers and screenwriters. Inviting her can balance the festival's commercial and artistic orientations and attract a more diverse range of creative talents.

Fourth: John Burns. A senior partner at William Morris Endeavor, a top entertainment lawyer, and a godfather figure in Hollywood's legal and brokerage fields.

He not only handles contracts with top stars and directors, but also gets deeply involved in many major mergers and acquisitions and international collaborations.

His participation means that the film festival will have solid guarantees in terms of legal compliance, business structure, and access to top-tier artists.

Fifth: Joan Chen. A Chinese-American actress and director, she rose to international fame in the 1980s with "The Last Emperor," and has since made significant achievements in both Hollywood and the Chinese film industry.

Her unique identity and experiences spanning East and West make her an excellent symbol of Sino-US film cultural exchange.

Her participation will enhance the film festival's cultural affinity and its role as a bridge for cross-cultural communication.

The list also includes several other candidates, including executives from second-tier studios and well-known independent film curators who have a strong curiosity about the Chinese market.

Wang Sheng pondered for a moment, then used his pen to highlight the names of Richard Walter, Mark Johnson, John Burns, and Chen Chong.

"Let's start with this combination."

Wang Sheng instructed his assistant, "Through Robert White's channels, on my behalf, Shengying Media Group's behalf, and the newly established Sino-American Film Festival Joint Organizing Committee, extend the most formal invitation to these four individuals to meet."

It emphasizes our vision of building a golden bridge for cultural exchange between East and West cinema, and their indispensable importance in achieving this vision.

The meeting is scheduled for today or tomorrow, and the location can be chosen by them, preferably a quiet private club or retreat.

"Understood, Chairman Wang. I'll contact Mr. Robert immediately." The assistant acknowledged the order and quickly left to make the arrangements.

……

The response to the invitation came faster and more positive than expected.

Richard Walter responded first, expressing strong academic interest in participating in a project that could potentially define future models of film cultural exchange, and readily agreed to meet that afternoon at a well-known professor's café near UCLA.

Mark Johnson's agent responded that Mark was very interested in discussing Sino-US film collaborations with "director Wang Sheng, who created the miracles of 'Night at the Museum' and 'Saw'," and was willing to have lunch together the following day at a highly private members-only restaurant in Hollywood.

John Burns' office responded more formally, stating that Mr. Burns had a busy schedule but was willing to make time for a brief half-hour meeting with William Morris in his office the following morning.

This aligns with the time management and status of entertainment lawyers.

Chen Chong's response carried the sensitivity and prudence of an artist. Through her agent, she expressed her admiration for director Wang Sheng's work and ambitions, and her willingness to learn more about the film festival's concept. She arranged to have afternoon tea at her home in Santa Monica the following afternoon.

Wang Sheng was satisfied with this start.

In Hollywood, the kind of people your project attracts directly determines its level. On the afternoon of March 1st, Los Angeles time, Wang Sheng, accompanied by two assistants and a bodyguard, arrived at the coffee shop where he had arranged to meet Richard Walter.

Professor Walter was about sixty years old, with gray hair, wearing glasses and a casual suit, and had a scholarly air about him.

He arrived early and was flipping through a book on film theory in a corner.

“Professor Walter, I’ve heard so much about you. I’m Wang Sheng.” Wang Sheng stepped forward, extending his hand with a humble and respectful attitude.

"Director Wang Sheng! Welcome to Los Angeles! Congratulations on your amazing achievement at the Oscars last night!" Walter stood up and shook hands warmly, his tone sincere. "Eighteen nominations, that's a legend in itself."

The two sat down and ordered coffee.

Without much small talk, Wang Sheng went straight to the point, explaining the original intention and framework of launching the "China-US Film Festival".

He emphasized that the film festival is not just about screenings and awards, but also about building a comprehensive ecosystem that includes forums, markets, venture capital, and talent development, to promote in-depth dialogue between the two countries' films from creativity to industry, and from market to culture.

"Your idea is very grand and forward-thinking."

Professor Walter listened intently, tapping his fingers lightly on the table. "Hollywood needs to understand the real China, and Chinese films, in their industrialization process, also need to learn from and integrate with it."

A high-level, fair platform is crucial. UCLA is eager to collaborate deeply with you in areas such as academic support, forum planning, and nurturing young filmmakers.

Wang Sheng then extended an invitation: "Professor, this is precisely why I hope you can serve as a co-initiator of the film festival and chairman of the academic committee. Your knowledge and prestige will be the best guarantee of the academic integrity and independence of this film festival."

Professor Walter pondered for a moment, adjusted his glasses, and his eyes gleamed with wisdom: "This is a very challenging and meaningful task. I agree in principle. We can have the team coordinate the details later. I hope this film festival can truly become a forum for the collision of ideas, rather than just another stage for fame and fortune."

“This is exactly my goal,” Wang Sheng solemnly promised.

The meeting with Professor Walter was a good start. The addition of this academic giant has given the film festival a solid academic aura.

The subsequent schedule was packed with activities.

The following day at noon, lunch with Mark Johnson took place in a pleasant atmosphere. Johnson, a typical Hollywood Insider, has a keen sense for markets and international collaborations.

He was very interested in Wang Sheng's vision of "combining the potential of the Chinese market with Hollywood experience," and was particularly optimistic about the market transactions associated with the film festival.

“Wang, do you know? The Academy (Oscars) has always encouraged diversity and international exchange.” Johnson said in a low voice as he cut his steak. “A well-run Sino-American Film Festival, if it has high-quality works and professional judges, may even become one of the qualifying rounds for some foreign language film or documentary awards at the Oscars in the future… Of course, this takes time and effort.”

He presented a very enticing vision.

Wang Sheng understood immediately and invited him to serve as a co-initiator and lead the industry liaison committee.

Johnson raised his glass almost without hesitation: "Cheers to future cooperation! I believe we can accomplish something amazing."

In the afternoon, Wang Sheng arrived on time at John Burns' impressive office at the William Morris Endeavor headquarters.

The half-hour meeting was efficient and direct.

Burns succinctly inquired about the film festival's legal structure, funding composition, equity distribution, and future profit model.

Wang Sheng gave a clear and business-logical answer.

“Mr. Wang, I am impressed by your ambition and execution.”

Burns concluded by saying that after signing a confidentiality agreement, he accepted a more detailed summary of the plan provided by Wang Sheng. "I will study it carefully. As a co-sponsor, I can provide the film festival with top-notch legal and business advisory support and introduce suitable capital and partners. But I need to see a more concrete implementation plan and budget."

"Of course. A detailed plan will be presented to you within two weeks." Wang Sheng knew that they were already halfway to success.

A character like Burns doesn't easily give an answer, but once he does, it means a huge influx of resources.

Finally, Wang Sheng arrived at Santa Monica, at Chen Chong's home, which was filled with artistic atmosphere and the scent of the sea.

Unlike the previous speakers, my conversation with Joan Chen resonated with her on a deeper cultural level.

Joan Chen shared her experiences as a Chinese-American filmmaker striving in Hollywood, as well as her profound understanding of the gap and integration between Eastern and Western cultures.

“Director Wang, your film festival has a great concept.” Chen Chong elegantly poured red tea, “but the key lies in ‘equality’ and ‘respect.’ It cannot be just one side pandering to or seeking novelty from the other.”

What we want to showcase is a complete, three-dimensional, and modern Chinese civilization; we also need the courage and wisdom to present and explore the diversity and complexity of American society itself.

Her words coincided with Wang Sheng's own idea of ​​"reverse examination".

“Therefore, Ms. Chen Chong, I need an artist like you who spans two cultures to grasp this balance.” Wang Sheng sincerely invited, “I hope you can serve as a co-initiator and preside over the work of the Cultural Advisory Committee.”

Chen Chong was silent for a moment, then turned her head, her eyes filled with a sense of mission: "Okay, I'll join. For our shared cultural heritage, and for the art of film to truly connect people's hearts."

(End of this chapter)