Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 539, Section 537: Promotion and High-Level Reception

the other side.

Kung Fu Hustle's performance in the North American market has embarked on an astonishing upward trajectory.

In its opening weekend, the film raked in a staggering $3180 million, taking the top spot at the North American weekend box office.

This figure not only far surpasses the opening weekend performance of Stephen Chow's previous work, "Shaolin Soccer," but also breaks the opening weekend record for a foreign language film (according to Oscar classification standards) in the North American market, previously held by "Crouching Tiger, Hidden Dragon."

Its popularity even penetrated the walls of movie theaters and spread into the realm of American popular culture.

On CBS's hit talk show, "The Late Show with David Letterman," host David Letterman, known for his sharp wit and humor, dedicated an entire segment to discussing the film.

Tell me, has anyone recently seen a movie called "Kung Fu Hustle"?

Letterman spread his hands at the camera and the audience, his face showing an exaggerated expression of amazement, "My God, I went last night, and now I'm wondering if all those so-called 'action blockbusters' I've watched before were just child's play!"
"Those fights, my God, that fat guy... what was his name again? And that landlady! The sound waves she blasted out could blow people away! It was insane, and fucking hilarious!"

He then imitated several funny scenes from the movie, eliciting continuous laughter from the audience. He then commented seriously, "I think the success of this movie lies in the fact that it does not try to cater to anyone's stereotypes."

It takes a pure, wild imagination and humor belonging to the East that we may never have experienced, packages it with top-notch film technology and a smooth narrative, and then slams it in front of you with a 'bang'.

You have no choice but to either gape or laugh uncontrollably. This is a devastating blow to cultural confidence, folks.

Meanwhile, renowned film critic Roger Ebert gave "Kung Fu Hustle" a high rating of three and a half stars (out of four) on his nationally acclaimed television program, "Roger Ebert and Great Movies".

During the program, he played classic clips such as the Axe Gang's group dance, the battle between the Qin Demon and the final Tathagata Palm, and analyzed: "Director Stephen Chow has created a completely self-consistent martial arts world full of grassroots wisdom and romantic chivalry."

Its visual language is cartoonish, but its emotional core is exceptionally real—about the choice of kindness, and the dream that ordinary people can become heroes.

As producer, Mr. Wang Sheng once again demonstrated his precise grasp of what resonates with cross-cultural audiences. He seamlessly integrated this unique Eastern expression with Hollywood's industrial standards, enabling global audiences to appreciate its charm without barriers.

In reality, Wang Sheng did not participate in the actual creation; he is just famous now and has paid for public relations.

NBC's "Today Show" even invited a professor of East Asian cultural studies from Columbia University to host a special segment to explore the integration of Taoist philosophy and street culture in "Kung Fu Hustle," bringing its popularity to a deeper level of academic discussion.

With the help of these mainstream media outlets and programs, the word-of-mouth for "Kung Fu Hustle" continued to grow, and the box office drop in the second week was controlled extremely well, with the total North American box office soaring toward the $100 million club.

……

Let's turn our attention back to China.

Huairou, a suburb of Beijing.

Inside a film studio built during the first phase of the Jackie Chan Happy Park project, where "Night at the Museum" was filmed, it has now become the core command center for the pre-production of "The Monkey King".

The second phase of the Jackie Chan Happy Park project is under construction, with an additional investment of 500 million RMB, aiming to create a Jackie Chan-style amusement park.

Inside the film studio's project room, various concept designs, storyboards, and architectural drawings were displayed. The majestic and ethereal Heavenly Court, the crystal-clear and magnificent Dragon Palace, the vibrant Flower and Fruit Mountain, the blazing flames of the alchemy furnace…

Xu Ke's signature white hair looked a little messy, but his eyes were bright and piercing as he was having a heated discussion with the art director, costume designer, action director, and other key creative personnel.

Wang Sheng walked in quietly, without disturbing anyone, and simply stood aside to observe.

He saw Xu Ke arguing heatedly with the stylist over the armor pattern of a celestial soldier; he saw him repeatedly simulating and testing the dynamic effects of the water flow when Sun Wukong infiltrated the Dragon Palace of the East Sea; he saw him personally demonstrating the emotional shift from bewilderment to rage when Sun Wukong learned he had been tricked into being appointed "弼马温" (Bima Wen, a low-ranking official in charge of horses), giving instructions to Liu Xiao Ling Tong, who played Sun Wukong.

Liu Xiao Ling Tong (Zhang Jinlai) was standing in an open space nearby, dressed in casual clothes.

Wang Sheng nodded silently.

Xu Ke's obsession and talent were perfectly unified at this moment.

He poured his magnificent imagination of Eastern mythology and his ultimate pursuit of film technology into this project.

"Chairman Wang!" Finally, someone spotted Wang Sheng, and the discussion in the room stopped abruptly as everyone stood up.

Xu Ke turned around, saw Wang Sheng, and a tired but excited smile appeared on his face: "You've arrived."

"Come and see," Wang Sheng stepped forward and patted Xu Ke on the shoulder. "How are you, Director Xu? Feeling a lot of pressure?"

"The pressure is immense!" Xu Ke didn't shy away from it. "But even more so, I'm excited! Chairman Wang, the stage you've provided is enormous, and your ideas are so ahead of their time! We're trying to combine the colors of traditional Dunhuang murals and Taoist talisman elements with the latest Motion Control camera technology and fluid simulation effects to create an unprecedented mythological world! There's a lot of work that wasn't detailed in the script, so we can only learn as we go, and improve it as we film!"

“That’s exactly the effect I wanted.” Wang Sheng smiled with satisfaction. “I’ve already set the rules. I don’t care about the process. I only care about the result, a result that can shock the whole world.”

He looked around at everyone and raised his voice slightly, “The Monkey King is more than just a movie; it’s a comprehensive review of the development of China’s film industry over the past few years, and a calling card for the world! Everyone, thank you for your hard work! Once the project is successful, I’ll throw you all a celebratory banquet!”

After briefly boosting morale, Wang Sheng pulled Xu Ke aside.

"Director Xu, I have seen your ability and dedication."

Wang Sheng said solemnly, "From now on, you will not only be the director of the 'Havoc in Heaven' project, but also the co-director with me. When the movie is released, the opening credits will list Wang Sheng and Xu Ke as co-directors."

Upon hearing this, Xu Ke's body jolted violently, almost unable to believe his ears.

Is he listed as a co-director with Wang Sheng?
Given Wang Sheng's current status in the international film industry and his power in the domestic entertainment circle, this is not just trust, but a supreme recognition and honor!
This means that Xu Ke's name, along with Wang Sheng's, will be forever engraved on this monumental work that is destined to be recorded in history!

Besides money, what Xu Laoguai wants most is fame.

A surge of warmth instantly welled up in Xu Ke's heart. He opened his mouth, wanting to say something, but choked up for a moment.

In the end, he simply nodded heavily, everything understood without saying a word.

He could only repay this kindness with even more exquisite works.

……

a few days later.

Tuesday, October 3th.

Incheon International Airport, South Korea.

A Gulfstream G550 business jet from Beijing, China, which has been chartered by Shengying Media for a long time, landed smoothly.

China’s business aviation market began to emerge in the early 21st century.

Although it is extremely unfamiliar and luxurious to the general public, it is already a recognized and efficient mode of transportation among the top billionaires and large multinational corporations.

The "ownership sharing" model pioneered by NetJets, an investment company of Warren Buffett, is already very mature in Europe and the United States.

This model allows customers to purchase a portion of the ownership of an aircraft (such as 1/4 or 1/8) and then receive corresponding annual flight hours based on the ownership percentage.

This is essentially a high-end, long-term charter service.

In 2004, China's top billionaires could enjoy such services by partnering with internationally renowned business jet companies.

As Shengying Media's international business grew, it subscribed to this service.

As the cabin door opened, Wang Sheng, dressed in a well-tailored casual suit, descended the gangway, surrounded by several assistants and bodyguards.

What happened outside the airport's VIP passage was enough to shock anyone familiar with the social hierarchy in South Korea.

The crowd that came to pick them up at the airport formed a miniature version of South Korea's political, business, and entertainment core.

Leading the group were two heavyweight figures:
One of them is Park Jin-hwan, Vice Minister of Culture and Tourism of South Korea, representing the high importance the South Korean government attaches to this cooperation.

The other is Lee Gae-dong, chairman of the Korean Film Council, who is in charge of policy support and overseas promotion for the Korean film industry.

Beside these two high-ranking government officials, Jeong Tae-won, president of Tae-won Entertainment, smiled broadly and bowed slightly, adopting an extremely humble posture.

He is both an old acquaintance of Wang Sheng in South Korea and the main coordinator for the South Korean side of the "Seoul Farewell" (tentative title) project.

In addition, those who came to greet them included:
President of CJ Entertainment Group's film distribution company;

Chief Operating Officer of Showbox Pictures;

In addition, there are several veteran directors and producers who hold a prestigious position in the Korean film industry and can be considered national treasures, such as Lee Chang-dong, who directed films such as "Peppermint Candy" and "Oasis" (at this time he had temporarily left his directing position, but his influence remained), and well-known producer Kim Dong-ho, etc.

The outside of the passageway was already packed with media reporters who had caught wind of the news.

The white flashes of light were like a torrential downpour, almost engulfing the entire entrance to the passage.

Reporters carrying cameras shouted loudly:

"President Wang Sheng! Look here!"

"Director Wang Sheng, what is the purpose of your trip to South Korea?"

"President Wang Sheng, does Shengying Media have any plans to invest heavily in South Korean films?"

Looking around, reporters from South Korea's three major newspapers, the Chosun Ilbo, JoongAng Ilbo, and Dong-A Ilbo, were all present. The interview vehicles of the three major television stations, KBS, MBC, and SBS, were parked side by side. There were also many financial media outlets such as Maeil Business Newspaper and Korea Economic Daily, as well as entertainment-focused media such as Sports Chosun and Il-Gar Sports, which almost encompassed all of South Korea's mainstream media.

This level of hospitality is far beyond what ordinary business cooperation can offer; it carries a strong connotation of diplomatic and national-level cultural industry strategic cooperation.

The reason is simple: Wang Sheng and his Shengying Media are now incredibly large.

By early 2004, Sheng Ying Media Group, which had successfully listed on the A-share market and experienced several rounds of explosive growth, had a total market value that had stabilized at RMB 40 billion, exceeding RMB 5.3 trillion.

Although the market capitalization is backed by the intervention of state-owned enterprises, it is still an astronomical figure that all its peers can only look up to.

In contrast, the South Korean entertainment industry in 2004, despite being in the early stages of the booming "Korean Wave," saw its major entertainment companies' market capitalization far from reaching its later scale. At that time, SM Entertainment, one of South Korea's largest entertainment companies, had a market capitalization hovering around several hundred billion won (equivalent to several hundred million to several billion RMB).

Even if you add up the market value of all the entertainment companies of a certain size in South Korea at this time (such as idol management companies like SM, YG, and JYP, as well as film and television companies like CJ Entertainment and Showbox), their total value would probably still be far less than that of Shengying Media alone.

This is not just about overwhelming capital size, but also about the unparalleled international influence, channel control, and brand reputation that Wang Sheng has built through a series of projects that have achieved great success in the global market, such as "Night at the Museum" and "Kung Fu".

For South Korea's cultural industry, which urgently needs to break through the ceiling of its domestic market and aspires to occupy a place on the global cultural landscape, Wang Sheng is not just a simple collaborator, but a "strategic resource" and "guide" that must be highly valued and strived for.

Despite the overwhelming presence, Wang Sheng maintained his calm and composed demeanor.

He first shook hands politely with Vice Minister Park Jin-hwan, Chairman Lee Hoe-dong, and other official representatives, exchanging pleasantries in simple English to thank the South Korean side for their warm hospitality.

He then exchanged a knowing glance with Jung Tae-won, and nodded in agreement with several other big names in the Korean film industry.

He did not stop to give an interview despite the media's calls. Instead, he smiled and waved to the media area with his bodyguards and assistants clearing the way. Then, guided by South Korean personnel, he quickly got into a black Equus bulletproof sedan with South Korean government ceremonial license plates that had been waiting for him.

Amidst the pursuit and attention of numerous media outlets, the convoy departed the airport in a grand procession, heading straight for downtown Seoul.

(End of this chapter)