[Chapter 414: Han Sanping]
After a 12-day trip, on August 11th, Linton and his group came to Beijing feeling refreshed. None of them showed any signs of travel fatigue; especially Linton and Xu Qing, who were radiant and full of energy.
Considering their upcoming schedule -- an interview for a chef team arranged by Xu Qing in the afternoon, and house hunting together the next day -- they decided that Xu Qing would stay with Linton at the Beijing Hotel during their last two days in the city, keeping the atmosphere warm and cozy.
Out of respect for Xu Qing, Linton declined to have Lin Hao pick him up at the airport and instead arranged for the hotel to provide a private car. However, Lin Hao had called earlier, proposing to host a welcome dinner that evening and introduce two friends from the film industry at the Beijing Hotel's VIP lounge.
Around noon, the group exited the Capital Airport and took the hotel's shuttle to the Beijing Hotel. As per routine, Xu Qing's room was on the same floor as Linton's, but her luggage was brought directly into Linton's room.
...
After a simple lunch and unpacking, at 3 PM, everyone gathered at a nearby restaurant where Xu Qing's assistant was already waiting. The restaurant was closed to the public today, fully booked by Xu Qing's assistant for a culinary team interview with Linton.
Xu Qing's connections were impressive. Even though she had accompanied Linton on the trip, during the past two weeks she had effortlessly secured two top-tier chef teams, ready for Linton to test and select his favorite. The chef teams were given sufficient time to demonstrate their skills.
Both teams started early this morning, preparing intensely. The plan was for a formal tasting at 3:30 PM, where each team would present their ten signature dishes for Linton's evaluation.
At 3:30, the two tables of carefully crafted dishes were laid out. The dishes were visually appealing, aromatic, delicious, tender, rich in flavor.
Linton praised both teams equally; it was difficult to pick a clear winner. After using his Soul Induction ability and discussing separately with the teams, he chose the older Suarez Shijie team.
Suarez Shijie was in his early forties, happily married with a college-age child, which meant fewer personal distractions. After his child graduated in a couple of years, he could even consider bringing his family to the United States -- a reliable long-term asset for Linton.
The other three assistants on Suarez's team were also in their early twenties and unmarried -- ideal candidates. However, none of the four spoke any English, which was unsurprising for chefs. Linton had no choice but to ask Miguel to arrange a special English course at New Oriental School -- an intensive two-month conversational training. They would accompany 116 waitstaff moving to the U.S.
---
By 6 PM, inside the VIP lounge of the Beijing Hotel, Linton arrived with Xu Qing as arranged. Lin Hao was already there with two guests.
"Sorry, I'm late," Linton apologized.
"No worries, you're right on time. We just got here too," Lin Hao replied.
"Linton, Xu Qing, I'd like to introduce two friends. This is Sun Tao, Vice President of China Film Group. And this is Han Sanping, Director of Beijing Film Studio."
"Mr. Sun, Mr. Han, it's a pleasure to meet you both."
"Mr. Anderson, you're truly impressive, a major Hollywood director and superstar. Xu Qing, of course, we've known her a long time," Han Sanping said warmly.
After brief pleasantries, everyone settled in their seats. Over several rounds of drinks and exquisite dishes, the conversation turned to business.
"Linton, what do you think about introducing Hollywood blockbusters into the Chinese film market?" Sun Tao asked, raising his glass.
"I'm not sure I have a straightforward answer," Linton replied thoughtfully.
"Just be frank with us. It's always better to hear multiple perspectives," Sun encouraged him.
"Alright, here's my take. There are pros and cons, but overall, the benefits outweigh the drawbacks."
"Please elaborate," Sun prompted.
"On the positive side, Hollywood films can enrich people's cultural lives, offering fresh audiovisual experiences and injecting vitality and new elements into the Chinese market. It also broadens filmmakers' horizons, exposing them to excellent works worldwide, thereby boosting international collaboration and exchange in the industry."
"And the downsides?"
"There are two main concerns. First, cultural impact -- the values Hollywood promotes might subtly influence how audiences perceive their own culture. Second, market pressure -- imported blockbusters could challenge the domestic film industry significantly."
"Powerful insight, very well put. To be honest, since last year, the State Administration of Radio, Film, and Television has debated the import of Hollywood films. It's been a heated discussion for months, and the consensus aligns closely with your views."
"So, you're planning to bring in Hollywood blockbusters?"
"Yes. The department has decided that China Film Group will handle this, importing 10 Hollywood blockbusters annually starting this year. Based on negotiations with the MPAA, a revenue sharing system will be implemented with the producers receiving 13% of the box office."
"Ten films a year -- that's a good balance to stimulate the market while protecting local productions."
"I heard you also own a Hollywood film company -- are you interested?"
"Absolutely. What are your selection criteria?"
"We have two: first, films must be big hits in the U.S. domestic market. Second, they must pass the censorship board -- no elements that disparage or discriminate against our country. The values must be positive, and the film's content should not exceed acceptable limits."
"Sounds great. Many films from my company meet those standards."
"I know, Mr. Anderson is a good friend of ours and invests generously in charitable causes without expecting returns. We've been instructed to offer you the first choice of 4 out of the 10 films to be imported this year, provided they meet our criteria."
"Four films to select first?"
"Yes, four."
"I have to toast you for this fantastic opportunity, gentlemen. Thank you," Linton said, raising his glass.
This was a major breakthrough. His charitable work had clearly earned him recognition. Although the domestic box office was still small and the revenue share low -- hardly profitable, especially since he had already sold overseas rights to Universal -- Monetary gain was not his goal. He valued the vast Chinese audience. Winning even a small share of fans through films would be a major triumph for his cultivation.
He was even willing to invest an additional substantial amount to support this.
Of course, all the inner politics and nuances did not need to be spelled out to Sun Tao and the others. For now, it was enough to seize the opportunity and express gratitude.
Setting down his glass, Linton confidently stated, "I'll pick Independence Day, The Man from Nowhere, The Rock, and Speed -- four recent global blockbusters that meet your standards."
"Great. Please arrange for someone to contact us as soon as possible."
"Thank you. Also, to show my personal sincerity, I'm willing to donate the domestic TV broadcast rights for Independence Day, The Man from Nowhere, and Speed for 10 years free of charge. Plus, my first film, Step Up, will also be gifted with full domestic distribution rights for 10 years. That last one doesn't count against your import quota, right?"
To win over the Chinese market, Linton was generous indeed. TV broadcasts at this time wielded greater influence than theaters, and free rights would ensure repeated airings on major networks.
He was confident that next time he returned, he wouldn't be the newcomer no one recognized -- he would be a household name.
"Wonderful, Mr. Anderson, your generosity is admirable. On behalf of China Film Group, I raise my glass to you. As for the donated films, I don't believe they'll count against the quota, although I need to report to higher-ups for final confirmation."
...
"Mr. Anderson, what's your opinion on commercial versus art films?" Han Sanping asked, raising his glass and initiating a new topic.
Linton knew Han Sanping would be leading China Film Group in future. He was an extraordinary filmmaker who had vigorously promoted film industrialization and market-driven transformation in China. Through his efforts, the domestic film market flourished, cultivating a strong industry capable of resisting Hollywood's dominance.
"In my view, the standards for judging good and successful films must be diverse. What makes a good film? Ones that reflect current social realities, explore human nature, embody humanistic care, spread positive values, innovate artistically, and are embraced by audiences. These all qualify as good films."
"So, for you, there's no strict divide between art and commercial films?"
"Right. Cinema is the seventh art, and different audiences and critics evaluate it differently. Experts and reviewers might focus on artistic merit, but ordinary viewers care more about whether a film entertains or moves them in those two hours. That doesn't mean films favored by experts are inherently superior to crowd-pleasers."
"What about the market? Should art films or commercial films dominate?"
"A mature film market embraces diversity -- both crowd-pleasing commercial films and thoughtful, artful movies with depth and social commentary. But for a healthy market, I think commercial films should lead."
"Why?"
"Simple. The market survives on its audience. As long as people want to watch and are willing to pay, the industry thrives; every part of the chain benefits, stimulating vitality and positive feedback. If theaters mostly show inaccessible art films, audiences won't come. Without audiences and revenue, how can the industry survive or grow? As for relying on government subsidies -- I don't think that's sustainable."
"I heard France heavily subsidizes its films each year."
"Yes -- but French audiences largely avoid their domestic films, and theaters are dominated by Hollywood blockbusters. Is that really ideal? From my analysis, markets that overemphasize art without considering audience demand face two outcomes."
"What are they?"
"One, the market closes to outside films, leading to audience loss, declining studios, theater closures, and cinema becoming a niche hobby for a few."
"And the other?"
"The market opens fully, but domestic filmmakers focus on art films funded by subsidies, while foreign films -- mostly Hollywood -- dominate. Even with prestigious festivals like Cannes, they rarely produce blockbusters."
"Exactly. First and foremost, you need to attract audiences to theaters and grow the market to sustain the industry. This limited import of Hollywood blockbusters aims precisely at that. Mr. Anderson, would you be interested in giving a talk at Beijing Film Academy?"
"Thank you for the invitation, Mr. Han, but I must respectfully decline."
"Why? You're a renowned Hollywood director and superstar. Why not?"
"The Academy champions the European film tradition and art films. I'm a commercial director. My philosophy is that commercial films focus on the audience. My movies have huge audiences in North America and worldwide and earn big at the box office, but critics often dislike them."
"You mean Independence Day? That film was critically panned but loved by audiences, smashing box office records with over $700 million worldwide as of last week."
At the mention of $700 million, everyone present swallowed hard.
"Do you really think the students and faculty at the Academy would appreciate my viewpoint and style?" Linton smirked.
"It seems we still have a long way to go to truly invigorate the film market," Han Sanping and Sun Tao exchanged a glance and shook their heads with regret.
*****
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