Chapter 216: line with translation of chapter title

Jiang Heng

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Jiang Heng

Kung Fu Panda

Kung Fu Panda

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Feng Xiaogang, Ge You, Jiang Heng

Jiang Heng

Feng Xiaogang, Director Jiang

Ge You, Director Jiang

Jingcheng

Chinese

Director Jiang

Feng Xiaogang, Ge You

Megan, Jiang Heng

Megan

Feng Xiaogang, Megan Fox, Hollywood, North America

Jiang Heng

Ge You

Megan Fox, Jiang Heng

Feng Xiaogang, Megan

Feng Xiaogang, Director Jiang

Jiang Heng

Megan Fox

Megan

Ge You, USA

Megan

Jiang Heng

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Megan

Megan, Feng Xiaogang, Director Jiang

Jiang Heng

Feng Xiaogang, Night Banquet

Feng Xiaogang

Jiang Heng, Beautiful Times

Jiang Heng

Jiang Heng

Curse of the Golden Flower, Night Banquet

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But considering the current Chinese-language film market, the directors capable of making big-budget films are just Chen Kaige, Zhang, Feng Xiaogang, and Wu; we might as well support them.

He said with a smile: "Alright, once the time is set, remember to let me know so I can keep my schedule open!"

Feng Xiaogang, seeing this, hurriedly said: "No need to say more, brother, I'm deeply grateful, deeply grateful!"

Ge You then said: "Director Jiang is magnanimous, truly deserving of being the top director in Chinese-language cinema, with such breadth!"

Jiang Heng had not previously won any major awards; the media only referred to him as "the top commercial filmmaker."

After winning the Oscar, everyone uniformly referred to Jiang Heng as "the top director in Chinese-language cinema"!

Chen Kaige still had some reservations about this, but lately he has lacked inspiration for both art-house and commercial films, and dare not speak extravagantly, so he temporarily accepts this fact.

As for Wu Yansen, he has already started filming Red Cliff, externally claiming an investment of 600 million, aiming for a domestic box office exceeding 800 million.

Although he never explicitly said he wanted to surpass Journey to the West: Conquering the Demons, his posture of competing with Jiang Heng is quite evident.

Jiang Heng didn't really care about that, because he was waiting for an opportunity—3D.

To release it before Avatar and produce the world's first mature 3D blockbuster.

Although Avatar was the first 3D film many audiences encountered, it was not the first 3D film in cinema history.

This 3D technology can be traced back as early as 1922; the world's first 3D black-and-white film on celluloid, The Power of Love, premiered at the Luoshanji Ambassador Hotel, marking the first commercial use of 3D cinema.

Then, in the 1950s-70s of the twentieth century, 3D films flourished, producing many thriller and horror movies, which subsequently drew criticism and skepticism from the outside world, causing 3D films to gradually be forgotten.

In the twenty-first century, directors such as Cameron repeatedly explored 3D technology, once producing a mini-version 3D sequel for Terminator 2, lasting 12 minutes and costing $60 million, which was used for playback in Universal Studios Theme Park.

Companies such as Huasuan and Disney also released 3D animated works, but due to shoddy production they were heavily criticized.

It can be said that during this period, due to the lack of high-quality 3D films, this technology left a poor impression on audiences.

It was the emergence of Avatar that accelerated the construction of 3D screens and the boom of 3D films, letting more people recognize 3D cinema.

But at this moment, this technology—3D films—are still not very popular.

Jiang Heng's plan was to, in 2008, renovate some auditoriums under the Zhongying Red cinema chain, and in the summer of 2009 release a 3D blockbuster, half a year before Avatar.

It's too early; both cinema facilities and the consumer base are not mature, which would be a waste of the painstakingly filmed movie.

(End of chapter)