Chapter 245

In early March, Outstanding Rising Film Company held a press conference, officially announcing that it would exclusively invest 300 million US dollars to film a 3D version of "Great Havoc in Heaven".

The reporters' first reaction was bewildered; they looked around at each other, not knowing what "3D" was!

After all, they had never heard of this concept before.

Then they were shocked by the enormity of the investment amount of 300 million US dollars, simply unimaginable.

Speaking of the current Chinese-language entertainment industry, other companies have also begun producing big-budget films.

For example, Huayi led, with Liu Weiqiang directing "Investiture of the Gods," with a total investment reaching 100 million US dollars.

"Red Cliff," which has completed post-production and is slated for summer release, is also claimed to have a total investment exceeding 100 million US dollars.

Therefore, at this point in time, an investment of 100 million US dollars is no longer considered newsworthy.

Jiang Heng, however, suddenly raised the production cost of mainland film investment to 300 million US dollars, still as exclusive investment, which is truly astonishing; saying it shakes the entire Chinese-language entertainment industry is not an exaggeration.

The reporters speculated that perhaps the investment amount was too large and the so-called "3D" technology not mature enough, which is why China Film did not participate this time.

At the same time, they were shocked by the formidable strength of Outstanding Rising Film Company—300 million US dollars, just saying they would take it and they did; how much profit must they have made!

"Hello Director Jiang, I'm a reporter from Xinlang Entertainment. This new film's investment amount is so high that it once again breaks the record for total investment in Chinese-language cinema. I'd like to ask: is it because this 3D technology is very expensive? What will its effect be?"

"Of course, the reason for spending so much this time is that we are using 3D stereoscopic film technology to shoot 'Great Havoc in Heaven,' mainly to present the most exciting chapter of 'Journey to the West' with the most perfect effect."

"As for 3D film, it's not exactly a new technology; this thing appeared as early as the 1920s!"

Jiang Heng first gave the media reporters a popularization of the history of 3D film, after which they realized it was not really a new technology. Even domestically, in the 1960s, they had produced 3D films such as "The Magician's Strange Adventure," "Happy Laughter," "Happy Zoo," "Beautiful Girl Ah Ping," and "The Thirteenth Sister of the Heroine."

It's just that in recent decades there haven't been any, and people gradually forgot about it.

Moreover, many people don't know that the first domestically released 3D film on a large scale was not the widely known "Avatar," but the 2008 "Journey to the Center of the Earth".

Because of its outstanding visual effects, with a high ticket price of 100 yuan and unprecedented visual impact, the film played for 27 weeks on the limited 80 3D screens, grossing 67 million yuan, averaging 800,000 yuan per screen.

While the box office of "Red Cliff (Part 1)" was 320 million yuan, shown on 3,600 screens, yielding over 80,000 yuan per screen.

Comparing the two films, the average per-screen box office for 3D films is ten times that of ordinary films; the box office from a single film recoups the investment in projection equipment, which can be called an investment miracle.

It was precisely the success of "Journey to the Center of the Earth" that sparked a 3D film craze, prompting many domestic theater chains to expand and upgrade their projection equipment, vigorously promoting 3D films.

In 2008, the number of domestic 3D screens was only 86; by the summer release of "Ice Age 3," the number had rapidly grown to 350.

When "Avatar" was released, the number of domestic 3D screens had exceeded 600, making China the world's second-largest 3D film market after the United States.

The reason it was able to create a box-office miracle of 1.34 billion is also inseparable from the theater renovation and upgrade brought about by the 3D film craze sparked by "Journey to the Center of the Earth" and "Ice Age 3".

However, the release date of Jiang Heng's "Great Havoc in Heaven" needs to be moved up, so we must find a way to let theater owners know that 3D films are more profitable, prompting them to upgrade equipment; that's why he introduced the benefits of 3D film at the new film press conference.

I believe that after extensive media coverage, some theater owners will be willing to upgrade and renovate.

After the press conference, the media's reporting was just as Jiang Heng had anticipated, with many taking "3D film" as the core of their articles, looking forward to the future development of the Chinese-language film market.

Some who are more favorable toward Jiang Heng said this move would lead the Chinese film market to continuously expand its scale, believing that before long China will become the world's second-largest film market after Beimei.

There are also those who are bearish, expressing doubt about the film's final effect, calling Jiang Heng's move too risky; if reputation and box office fail, the impressive achievements built over years would go down the drain, and they advise Jiang Heng to act cautiously.

In Xianggang, Wu Yushen, who had finished post-production on "Red Cliff," was rare in taking a break in his studio, handling some miscellaneous tasks and planning the film's release.

Producer Zhang Jiazhen walked over holding a few newspapers, laughing loudly: "Come look, that kid is up to mischief again!"

Wu Yushen looked up: "What's the matter, making you this happy?"

"You see for yourself!"

After saying that, Zhang Jiazhen placed the Ming Pao in front of Wu Yushen, only to see the headline: "Jiang Heng obsessed with new technology, investing 300 million to film a 3D version of 'Great Havoc in Heaven'".

Continuing to read the article, it first reported on the new film press conference, then reviewed the development of 3D technology in world film history, and finally discussed the enormous risk of this move.

In summary, the meaning is that 3D technology amounts to mere trickery and cannot really be called art.

Over the years, no major director has used this technology to make a film.

Perhaps due to time pressure, this article is not written rigorously.

Before the film "Avatar," most great directors looked down on 3D technology, but Hitchcock did not; he had once shot a 3D version of "Dial M for Murder" in 1954, becoming one of the few gems among 3D films at the time.

However, Wu Yushen surely wouldn't notice these; he merely glanced at the newspaper and scoffed: "This Director Jiang probably, because the global box office of 'Pacific Rim 2' swelled, aimed for the throne of all-time box office champion, knowing that ordinary films could never beat 'Titanic,' so he branched out from 3D technology!"

Zhang Jiazhen laughed, "You really see it clearly—300 million US dollars, he really dares to invest; looking at this, he must have made a lot! I just don't know how much he could lose this time!"

To be honest, regarding the astonishing box office of "Pacific Rim 2," few directors and producers in the circle are not envious.

After all, "in literature there is no first, in martial arts no second"; directing also counts as the literary side, and they generally don't defer to each other.

Some people, even if their work is called a flop and both box office and reputation collapse, still insist the work is good; it's just that you don't understand it.

So no matter how great Jiang Heng's achievements, there will always be someone dissatisfied, let alone Wu Yushen, a veteran renowned director.

He chuckled: "How much he earns or loses is his own business; it's none of our concern, just don't affect 'Red Cliff'!"

Zhang Jiazhen said: "The problem is, his 'Legend of the Sword' is scheduled for summer release, competing with Red Cliff!"

Upon hearing that, Wu Yushen also felt a bit of a headache.

The so-called strategic contempt for the enemy, tactical attention to the enemy.

Jiang Heng's effects-heavy blockbusters, even Hollywood directors dare not take lightly.

Moreover, not to mention that this film has an original novel, and there is a group of "original fans" online waving flags and shouting.

(End of chapter)