[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"origin-starting-from-stealing-the-role-in-1995-huayu":3,"chapter-starting-from-stealing-the-role-in-1995-huayu-starting-from-stealing-the-role-in-1995-huayu-chapter-324":6},{"origin":4,"title":5},"chinese","Starting from Stealing the Role in 1995 Huayu",{"chapter":7,"nextChapterSlug":19,"prevChapterSlug":20,"totalChapters":21,"novelImage":22},{"id":8,"novel_id":9,"title":10,"slug":11,"index":12,"content":13,"wordcount":14,"created_at":15,"updated_at":15,"volume":16,"translator":17,"content_hash":18},2321313,4540,"Chapter 324","starting-from-stealing-the-role-in-1995-huayu-chapter-324",324,"\u003Cp>Ten to twenty years ago, the Chinese-language film industry, whether on the mainland or in Wanwan, revered art films. The mainland produced Fifth Generation filmmakers led by Zhang Yimou and Chen Kaizi, while Wanwan produced its own New Wave directors led by Yang Dechang and Hou Xiaoxian.\u003C\u002Fp>\n\u003Cp>Hong Kong also had New Wave figures like Xu Ke and Hsu An-hua, but Hong Kong’s industry was fundamentally commercial! Even Xu Ke had to submit to the market for box office returns. Yet it was precisely the rise of the New Wave combined with a commercial market that forged Hong Kong cinema’s golden era—without it, how could classics like the Huang Feihong series have emerged?\u003C\u002Fp>\n\u003Cp>For these two decades of the 1980s and 1990s, Hong Kong cinema dominated the Chinese-language film market; neither Wanwan’s nor the mainland’s art films could compete.\u003C\u002Fp>\n\u003Cp>But control over film criticism rested firmly in the hands of filmmakers who championed art cinema, especially those from the mainland and Wanwan, who all emerged from a tradition pursuing artistic film.\u003C\u002Fp>\n\u003Cp>Li An grew up in this environment—he studied film and drama at Wanwan’s National Arts College, worked as a stage actor, then went to the University of Illinois in America to study directing, so his creative philosophy was stamped with the mark of art cinema from the start.\u003C\u002Fp>\n\u003Cp>Only after actually shooting The Hulk did he truly understand the difficulty of making commercial films—it’s not something you can just pick up and shoot. Look at all those art directors who sneer at commercial films as trash, denouncing them as devoid of art—but let them try directing one, and nine out of ten would fail miserably.\u003C\u002Fp>\n\u003Cp>Through the failure of The Hulk, Li An came to understand himself: call him pretentious, call him aloof—he simply wasn’t suited for commercial films; he had to stick to his art film path. So his new project was also an art film.\u003C\u002Fp>\n\u003Cp>Li An said to Wu Yuchen: “Wu Dao, you must have noticed the shift in Hollywood’s direction these past few years—LGBT voices are growing louder.”\u003C\u002Fp>\n\u003Cp>Wu Yuchen nodded: “It’s not just Hollywood—across North America and all of Europe, the voices are growing stronger.”\u003C\u002Fp>\n\u003Cp>Seeing Wu Yuchen agree, Li An continued: “The art world has always been the vanguard of social tides, so over the past few years, films advocating for LGBT themes have repeatedly emerged. My new project is on this subject.”\u003C\u002Fp>\n\u003Cp>“I’ve secured the rights to Annie Proulx’s 1997 short story Brokeback Mountain, a Pulitzer Prize winner.”\u003C\u002Fp>\n\u003Cp>Wu Yuchen thought: So it’s Brokeback Mountain!\u003C\u002Fp>\n\u003Cp>The film Brokeback Mountain had immense influence—not just because it won many Oscars. Though it didn’t take Best Picture that year, it was unquestionably the most talked-about, most watched, most controversial, and most influential film of that Oscars season, spreading worldwide. From then on, Brokeback Mountain became synonymous with homosexuality—or even an adjective for it.\u003C\u002Fp>\n\u003Cp>But one thing must be clear: Brokeback Mountain didn’t create LGBT; it was the LGBT movement that propelled Brokeback Mountain’s birth.\u003C\u002Fp>\n\u003Cp>China’s current development lags behind Europe and America by at least two generations, so domestic attention to this topic remains minimal. Only after Brokeback Mountain’s release did many suddenly feel as if such a group had appeared out of nowhere.\u003C\u002Fp>\n\u003Cp>Of course, this rests on one foundation: Li An directed it exceptionally well—whether in color, atmosphere, shot transitions, or shifts in character emotion, everything was perfectly calibrated. The love between the two leads was rendered with exquisite subtlety; though it was same-sex love, it was no less powerful than heterosexual affection.\u003C\u002Fp>\n\u003Cp>But for Wu Yuchen, what mattered most was the film’s ability to achieve outsized returns: a mere $14 million budget earned eight Oscar nominations, three Oscars—including Best Director and Best Adapted Screenplay—won the Golden Lion at Venice, and grossed $180 million worldwide. From any angle, Brokeback Mountain was an extraordinarily profitable investment—no reason not to back it.\u003C\u002Fp>\n\u003Cp>After reading the script, Wu Yuchen saw Li An watching him expectantly and smiled: “No wonder you’re a Pulitzer winner—the story is excellent, the adaptation even better. I have zero doubt you can bring this strange, delicate love to life.”\u003C\u002Fp>\n\u003Cp>Li An smiled—he had collaborated with Wu Yuchen on Crouching Tiger, Hidden Dragon, so he came to him first. Sure enough, Wu Yuchen understood him.\u003C\u002Fp>\n\u003Cp>But then Wu Yuchen changed tone: “Still, Li An, you know Brokeback Mountain is highly controversial, meaning high risk. So Miraculous Pictures can’t offer you much investment—hope you understand.”\u003C\u002Fp>\n\u003Cp>Li An wasn’t surprised: “Don’t worry—I’ll keep the budget under $15 million to minimize risk.”\u003C\u002Fp>\n\u003Cp>This wasn’t just for the producer’s sake—it was for himself too. The Hulk had already eroded part of his reputation in Hollywood, so Brokeback Mountain absolutely couldn’t lose money; if he failed at both commercial and art films in succession, he might hit rock bottom. The most effective way to guarantee no loss? Cut costs.\u003C\u002Fp>\n\u003Cp>Li An had earned a lot from The Hulk’s salary, but he’d never invest his own money—even in his own films.\u003C\u002Fp>\n\u003Cp>After hearing this, Wu Yuchen nodded in satisfaction, then remembered Anne Hathaway—she was the original Brokeback Mountain lead. Should he offer her the role?\u003C\u002Fp>\n\u003Cp>He thought: Among those around him, she was the most suitable. Since Jessica Alba and Anne Hathaway became his little darlings, none of the new actresses these past two years had caught his eye.\u003C\u002Fp>\n\u003Cp>Wu Yuchen sighed inwardly: Hollywood’s premium new talent is dwindling.\u003C\u002Fp>\n\u003Cp>Shortly after Wu Yuchen and Li An agreed on funding Brokeback Mountain, Warner’s representatives visited again.\u003C\u002Fp>\n\u003Cp>Wu Yuchen regarded the two men across from him with calm confidence—he held the advantage. Even if Warner rejected his terms, he wouldn’t lack projects.\u003C\u002Fp>\n\u003Cp>Jeffrey spoke first: “Wu, you’ve given us a real dilemma—25% of global box office? We’ve never offered anything like that.”\u003C\u002Fp>\n\u003Cp>Wu Yuchen shook his finger with a smile: “Compared to Spielberg’s 20% across all channels back then, I think this is modest. If you’re willing to open all channels, I’ll drop to 15%. How about it?”\u003C\u002Fp>\n\u003Cp>Wu Yuchen’s current fame rivals Spielberg’s before Jurassic Park. He asked for only 15%—lower than Spielberg’s 20%—because Batman is a famous IP with built-in traffic, unlike Jurassic Park at the time.\u003C\u002Fp>\n\u003Cp>Jeffrey immediately shook his head: “No, Wu, let’s drop the whole channel-splitting idea. You know it’s impossible.”\u003C\u002Fp>\n\u003Cp>Wu Yuchen smiled—he’d expected this. Warner would never open up Batman and Superman merchandising rights.\u003C\u002Fp>\n\u003Cp>Universal had offered Spielberg 20% across all channels only because they never anticipated Jurassic Park becoming that huge. Otherwise, they’d have given him 20% plus 20%—never sacrificed $20 million in cash salary to let Spielberg walk away with $250 million.\u003C\u002Fp>\n\u003Cp>Precisely because of that precedent, Warner would never do the same now.\u003C\u002Fp>\n\u003Cp>Jeffrey continued: “Wu, after committee deliberation, we can offer you $20 million plus 25% global box office, but to guard against losses, we reserve the right to terminate the trilogy at any time.”\u003C\u002Fp>\n\u003Cp>Normally, this would be reasonable. With Wu Yuchen’s high salary, if the film underperformed, Warner could halt the next two films immediately to cut losses.\u003C\u002Fp>\n\u003Cp>But Wu Yuchen caught something subtle: “What if the film succeeds? And how do you define success or failure?”\u003C\u002Fp>\n\u003Cp>Jeffrey sighed: “Oh, Wu—high box office is success. We’re just lowering risk!”\u003C\u002Fp>\n\u003Cp>Wu Yuchen shook his head: “If that’s the case, then we need a one-film-at-a-time deal—including the script.”\u003C\u002Fp>\n\u003Cp>Jeffrey instantly understood: “Wu, you don’t need to be so suspicious of us!”\u003C\u002Fp>\n\u003Cp>“No, no—it’s you who haven’t given me enough trust.”\u003C\u002Fp>\n\u003Cp>“Let me be clear: under your terms, even if the film succeeds, you can fabricate a balance sheet showing negative profits and use that to fire me—the high-salary director—and replace me with someone else to shoot my script. Success and failure? The definition rests entirely with Warner. I won’t accept this. Better to sign one film at a time: if the first succeeds and you want me to continue, you’ll have to offer better terms.”\u003C\u002Fp>\n\u003Cp>Jeffrey rubbed his temples in frustration. Any other director saying this would’ve been shouted down—but Wu Yuchen had the clout to negotiate like this.\u003C\u002Fp>\n\u003Cp>He still said: “Wu, you know this is impossible. This is our best offer—no room for improvement!”\u003C\u002Fp>\n\u003Cp>Wu Yuchen spread his hands: “If you want me, give me full trust from the start. Or—if you lack confidence in the Batman trilogy—why not let me share some of the investment? Miraculous Pictures is happy to co-share some risk.”\u003C\u002Fp>\n\u003Cp>Jeffrey thought a moment: “Wu, by agreeing to your high salary, we’ve already shown our trust. Don’t mention investment-sharing again—we can afford this.”\u003C\u002Fp>\n\u003Cp>Warner was currently the financially strongest studio in Hollywood—each year’s Harry Potter alone guaranteed stability, and in recent years they’d scored hits like The Matrix.\u003C\u002Fp>\n\u003Cp>The better a company’s finances, the easier it is to raise capital—they often don’t even use their own money; banks and investors line up to hand them cash.\u003C\u002Fp>\n\u003Cp>Jeffrey continued: “We can add a clause: you alone will direct all three films. If we make sequels, only you can direct them, and each film’s salary will remain at this level—no increases. In return, we retain termination rights. This way, both sides are protected.”\u003C\u002Fp>\n\u003Cp>Wu Yuchen sighed inwardly—he’d hoped Warner, fearing risk, would share some Batman investment. But sadly, Warner was flush with cash. Miraculous Pictures could at best be a co-producer, earning production fees—investment shares were impossible.\u003C\u002Fp>\n\u003Cp>In his past life, Legendary and Nolan’s own company had joined Batman’s production—but only as producers; the investor was always Warner.\u003C\u002Fp>\n\u003Cp>Still, raising global box office share to 25% was a win.\u003C\u002Fp>\n\u003Cp>Wu Yuchen extended his hand: “Deal.”\u003C\u002Fp>\n\u003Cp>Soon, Warner publicly announced its collaboration with Wu Yuchen on the Batman trilogy. The news sent ripples through Hollywood.\u003C\u002Fp>\n\u003Cp>After all, Wu Yuchen was this year’s hottest director—his Pirates King and Spider-Man films had already shattered box office records, none below $800 million. Now Batman was in his hands? The anticipation was electric.\u003C\u002Fp>\n\u003Cp>Instantly, major agencies sprang into action, scrambling for details on Batman. Casting agents rushed to probe Wu Yuchen’s selection criteria. His agent’s phone rang nonstop. Warner was flooded with inquiries too—everyone wanted script snippets.\u003C\u002Fp>\n\u003Cp>For a time, all the major talent agencies sprang into action, trying to gather any information about The Batman, and every publicist sought to learn Wu Yuchen’s criteria for casting. Wu Yuchen’s agent’s phone rang nonstop. Warner Bros. was also bombarded with inquiries, everyone desperate to obtain script excerpts.\u003C\u002Fp>\n\u003Cp>Honestly, he hadn’t planned any multi-round auditions—he intended to directly appoint lead actors. With his current clout, how many actors could refuse him?\u003C\u002Fp>\n\u003Cp>Besides, he had no time to waste. With Batman now greenlit, preparatory work must begin immediately. He’d lock in Batman’s actor first, then give him over six months of training—so filming next year wouldn’t be delayed.\u003C\u002Fp>\n\u003Cp>He also needed to specify requirements for Batman’s props—the Batmobile, for instance—and have designers create concept art, then commission manufacturers to build them. All these preparatory tasks had to start now—otherwise, waiting until next year would cause massive delays.\u003C\u002Fp>\n\u003Cp>Because of these Batman-related tasks, his return to China would be postponed. He still had Departure to shoot back home—how could he possibly spare time for endless auditions?\u003C\u002Fp>\n\u003Cp>Because of these Batman-related tasks, his return to China would be delayed anyway; there was still a film called The Departed waiting for him to shoot—how could he afford the time to go through round after round of actor auditions?\u003C\u002Fp>",1891,"2026-06-20T16:09:30.828Z",1,"Qwen3-Next 80B","bfadbe8cd41ffd5a9a3c845e92c4a92f6ac799edc983b184fc8a97a3e0614c2f","starting-from-stealing-the-role-in-1995-huayu-chapter-325","starting-from-stealing-the-role-in-1995-huayu-chapter-323",335,"https:\u002F\u002Fnovelzhen.com\u002Fimages\u002Fcovers\u002Fstarting-from-stealing-the-role-in-1995-huayu-cover.jpg"]