Chapter 70: Cinema‑Chain Reform

The domestic film market was not without a prosperous period; the total box office at the end of the 1980s was roughly 3 billion.

But due to various drawbacks, it plummeted all the way to under 1 billion by the 1990s.

Ironically, when China joined the WTO in 1999, two clauses regarding foreign films entering China were settled: one, allowing foreign investment to enter China's film exhibition business, to build, renovate, or operate cinemas provided the share held does not exceed 49%; two, after joining the WTO there is a three-year protection period, permitting 20 imported revenue-sharing films each year.

Although only 20 films, it still made countless domestic film professionals feel that winter was coming.

Especially the heroic box‑office haul of 360 million yuan by Titanic truly made people feel chilled.

Originally in history, the state only began the cinema‑chain reform in 2002.

In this timeline, perhaps seeing Jiang Heng's three blockbusters' outstanding performance and huge influence actually gave rise to the idea of advancing the cinema‑chain reform.

Jiang Heng, who both directs big productions and has ample funds, thus became the object of 'care'.

Han Sanping's question clearly carried a superior's intent, and Jiang Heng could hardly miss it.

Worried that 150 million yuan might not be enough, after thinking he added: 'I have been to the United States several times and found that the decoration and equipment of cinemas there are far better than domestically; for the same film, the audiovisual effects are completely different. I want to import equipment from there to build several high‑standard cinemas.'

Han Sanping's eyes lit up upon hearing that: 'That couldn't be better—your effects‑heavy blockbuster paired with the finest audiovisual equipment…'

Speaking halfway, he seemed to realize: 'No wonder *One Million Years B. C. * achieved decent results in North America.'

Jiang Heng blinked at this, wondering what it meant—did he think there shouldn't be so many?

Han Sanping gave an embarrassed laugh, then suddenly said: 'Putting it that way, *Lion Camel Ridge* is bound to cause a sensation across the whole of America!'

In this timeline, the audiovisual effect of *Lion Camel Ridge* can be called the strongest in history, but the visual shock it gives people varies from country to country; the key factor is cinema decoration and projection equipment.

The feeling given by *Lion Camel Ridge* shown in a dilapidated, aging‑equipped theater in a small Southeast Asian nation versus a top‑standard theater in downtown New York is certainly different.

Even if a theater is well‑decorated, if the cinema chain lowers playback standards to save costs, audiences will still feel displeased.

A typical example is the domestic 3D films released after *Avatar*: audiences found the visual effect mediocre, and wearing glasses the screen brightness dropped at least two notches.

The reason is also simple: some cinema chains deliberately lowered the xenon lamp brightness.

Because the lifespan of a xenon lamp bulb is very short, it is a consumable.

If the brightness is turned to full, firstly the electricity cost is high, and more importantly the wear and tear becomes large.

Therefore many cinemas only set the bulb brightness to seventy percent of the standard; this immediately cuts costs.

It is said that this practice can raise a theater's net profit by 10–15%; such a gain is something few theaters or cinema chains can resist.

And the resulting consequence is that the moviegoing experience is greatly discounted.

2D is barely tolerable, but once this brightness is used to project 3D films, the visual experience given to audiences is simply disastrous.

What should be a bright image turns dark, and details that originally existed in the dark simply disappear.

But for effects‑heavy blockbusters, many exquisite details lie in those fine points—for example, animal fur.

Yet when cinemas make that adjustment, much of the producers' work ends up being for nothing.

Later, 3D films lost all appeal to audiences, and some viewers deliberately chose the higher‑brightness 2D version to watch—this is why.

Thus Jiang Heng believes that *Lion Camel Ridge*'s box‑office performance in North America should far surpass that of *The Matrix* and *One Million Years B. C. *.

Besides, naturally we need to build several high‑standard cinemas so everyone can see what 'full firepower' means.

"I think it should be fine; after all, judging solely by visual effects, *Lion Camel Ridge* is far stronger than those two!"

Han Sanping, upon hearing this, couldn't help feeling a bit regretful: "I really want to see what the playback effect would be on the best equipment!"

Jiang Heng laughed: "That's still simple—once the cinemas are built, we can just do a small‑scale re‑release of a few shows!"

He then said to himself: "When 3D technology develops, I will remake *Lion Camel Ridge*; then you'll know what 'there is no best, only better' means!"

Thinking of this, he couldn't help but hesitate.

Perhaps he could release the 3D version of *Lion Camel Ridge* half a year to a year before *Avatar* hits theaters, and definitely reap a large profit.

Since the cinema‑chain reform is still at the opinion‑solicitation stage, the two of them don't need to discuss it so deeply; they just briefly talk about the cooperation model.

Afterward, the two went together to the large conference room and held a celebration meeting to learn from Comrade Jiang Heng.

When discussing the next film, Jiang Heng did not conceal anything, directly saying he had reached a preliminary cooperation intention with Columbia Company and was preparing to shoot a super monster blockbuster.

A senior from China Film asked, "Or is it like Jurassic Park?"

Jiang Heng shook his head: "The Jurassic style initially looks novel, but after seeing it a lot it becomes somewhat bland, and the plot inevitably falls into clichés. From the fact that Spielberg's *Jurassic Park* series has seen both box office and reputation decline, you can tell. So this time I plan to shoot a modern monster movie!"

"Modern monster? Like Godzilla landing in a big city?" a female leader asked.

Jiang Heng nodded, and someone said: "There won't be a scene of monsters landing in Shanghai, will there? That would be hard to get past censorship!"

Jiang Heng laughed: "We can let them land in Japan and directly destroy a few cities."

Everyone in the room couldn't help but hold back laughter; they wanted to laugh but felt embarrassed, so they could only tactically drink water.

Han Sanping said: "Won't this produce a bad influence?"

Jiang Heng waved his hand: "It's fine; in monster movies, destroying a few modern cities is commonplace, and anyway the Americans don't care much. As for the Japanese—if those little … uh … Japanese who are doing well have objections, tell them to put up with it!"

As soon as he said that, everyone couldn't hold back any longer, all bursting into loud laughter.

Continuing the discussion of the plot, they asked how these monsters would be dealt with—relying on brave armies?

Jiang Heng laughed: "Of course, not entirely. In my conception, those monsters are too powerful; ordinary armies cannot threaten them, requiring all countries to unite and forge the most advanced mecha to annihilate them!"

"Mecha?"

The people in the room murmured, understanding the meaning of those two characters but having no clear concept in mind.

Someone said: "Is it like the transforming robots in the animated series?"

Jiang Heng said: "It can be understood that way, but Transformers are automobile people, whereas the mecha I design are human‑controlled."

Upon hearing this, everyone in the room felt moved and shocked.

After all, they had never before had any similar concept in their minds; if it weren't for the two sides intentionally cooperating, how could they hear these things?

(End of chapter)