Chapter 47: North American Performance

There are so many xianxia web novels, but few can be adapted for film or TV.

Works like Zhu Zion that have a movie, a TV series, and can even be turned into a game are even rarer.

Of course, the movie itself isn't that great.

Just for that, Jiang Heng also wants to acquire the rights.

After three or five years, when the mainland film market improves a bit and the actress he admires is a little older, he can launch the project.

For example, the nationwide sensation "Divine Sister" Liu Yifei could be cast as the female lead!

As for this meeting, he can first write the novel to boost the IP's popularity.

Of course, he doesn't need to tell Xu Ke and the others about this.

Even if he said it, they'd just think he's joking.

When the meal was almost finished, Xiang Huaqiang couldn't help but slip in a question, asking Jiang Heng if he was interested in co‑producing Legend of Shu Mountain.

Jiang Heng waved his hand and said, "I'm actually quite interested in that subject, but I really have no time; I just started working on a Journey to the West script and am in preparation."

Madam Xiang's eyes lit up, "Oh, Director Jiang, are you short on funds? We can provide some!"

Jiang Heng smiled, momentarily at a loss for how to reply.

Not to mention that his special effects don't cost a thing; even by the "book‑keeping" of expenses, the net revenue from the two films is a huge fortune.

When he makes movies, wherever funding is needed, he gets help.

Partnering with Beijing Film Academy is simply about valuing their resources in the mainland market.

The Xianggang film market is already in decline, so how could he possibly take Xiang's money?

Jiang Heng bowed his hands and laughed, "Thanks for Madam Xiang's kindness, but the money I have on hand right now is enough; I don't want to trouble you!"

Madam Xiang's expression turned sour, and with a hint of bitterness she said, "Indeed, Director Jiang's two films have earned more than we have in over ten years; he can't care for our small money!"

Jiang Heng gave a helpless smile and didn't retort.

Xiang Huaqiang's face darkened, "A Lan, don't say that!"

He lifted his glass again and said, "Director Jiang, I'm the type who loves befriending capable people; I hope we'll always remain good friends from now on!"

Jiang Heng also raised his cup and laughed, "Of course, I'm also willing to be friends with Mr. Xiang!"

The few of them drank a few more rounds, chatted casually for a while, and then dispersed.

Jiang Heng strolled around a nearby mall and only drove home that night.

He opened his computer, created a new document, and typed the two characters "Zhu Zion".

Then he wrote: Time unknown, should be a very, very long time ago.

Location: Shenzhou Vast Land.

Heaven and Earth are merciless, treating all things as fodder…

Jiang Heng typed quickly, staying up until midnight and had already hammered out tens of thousands of characters.

In fact, the entire novel's content already exists in his Super Microcomputer and can be transferred directly.

He just feels that doing the whole production and typing it out once might give him a deeper appreciation of the original work!

For a while afterward, Jiang Heng shut the door on visitors and stopped accepting invitations.

Anyone who called was told he was creating at home.

In reality he was revising the Lion Camel Ridge script while typing the Zhu Zion content.

Yet the Xianggang entertainment circle spread rumors that Jiang Heng was writing a xianxia novel at home.

In an instant, a bunch of Xianggang publishers all tried to contact Jiang Heng, attempting to obtain the novel's publishing rights.

Irritated by the interruptions, Jiang Heng flew straight to Sanya, chose the best hotel, and spent each day typing on his laptop, watching the sea view, eating seafood—life was rather pleasant.

During that time he flew to the United States for a Hollywood awards ceremony, but got nothing; the 71st Oscar for Best Foreign Language Film went to the Italian movie Life is Beautiful.

In actual history, The Matrix won four major Oscars: Best Sound, Best Film Editing, Best Sound Effects Editing, and Best Visual Effects.

But in this world, The Matrix is a Chinese‑language film, and Jiang Heng didn't go to the U. S. to campaign, so no one would hand him the award.

One must know that winning an Oscar without spending money is impossible.

It is said that to get an Oscar statuette you must spend a huge PR budget, sometimes even higher than the film's production cost.

Yet they say Jiang Heng doesn't care about that, while domestic media and fans are deeply disappointed, as if missing the Oscar for Best Foreign Language Film were a major setback.

Columbia Company also feels regretful; if Jiang Heng could win an Oscar statuette, the box‑office of Prehistoric One Hundred Million Years would surely rise a lot.

As for the film Prehistoric One Hundred Million Years, Columbia Company finally scheduled it for March 26.

It can't claim a prime slot, but with weak competition there's still a chance for high earnings.

Because on May 19, the box‑office champion of the year, the U. S. ‑wide $430 million hit Star Wars Prequel 1, will be released.

The Star Wars series is so renowned that companies generally avoid its release windows.

In June there will be releases of market‑favored films such as Ace Big Spy 2, Tarzan, and Fake Dad.

And after the summer, it feels like too much time has passed.

Columbia Company, being picky, finally settled on this date.

The biggest advantage is that on opening day there's no competition; the film Electric Shock Journey, which premiered the previous week on March 19, performed poorly, with a historical U. S. gross of just over $52 million, ranking 44th for the year.

Although expectations for that film's earnings weren't high, Columbia Company still carried out the contractual promotion and opened in over two thousand theaters simultaneously.

By the next day, Prehistoric One Hundred Million Years posted a $9.32 million gross. Though lower than The Matrix, it's respectable for the March box‑office lull.

However, the media response was sharply polarized.

The detractors called the film worthless, never mentioning that its dinosaur visuals outshone those of the two Jurassic Park movies, only criticizing its illogical plot and terrible story.

The praise focused on the visual effects, claiming the dinosaurs in the film are more realistic and more stunning than those in Jurassic Park.

Especially the segment where everyone travels to the Jurassic era; that "wilderness survival" storyline feels truly amazing.

Yet Western audiences already love "wilderness survival" themes, and hearing the media's take instantly drew a wave of viewers.

Moreover, many movie fans care more about visual effects and aren't really concerned with the plot; as long as dinosaurs eat people, chase people, and herd a bunch of people around, that's enough.

As for how those people got there, the audience doesn't really care either.

As a result, although Prehistoric One Hundred Million Years had an average opening‑day box office, its decline was slow, and given its momentum, it could easily surpass a hundred‑million revenue.

Columbia Company felt a bit regretful, while Jiang Heng exclaimed his good luck.

The most frustrated was Universal Pictures, which wondered whether Beimei audiences would still like park dinosaurs after seeing them run wildly through the vast Jurassic world.

(End of chapter)