[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"origin-the-intelligence-king-of-chinese-entertainment":3,"chapter-the-intelligence-king-of-chinese-entertainment-the-intelligence-king-of-chinese-entertainment-chapter-225":6},{"origin":4,"title":5},"chinese","The Intelligence King of Chinese Entertainment",{"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},2260528,4411,"Chapter 225: Copying the Light","the-intelligence-king-of-chinese-entertainment-chapter-225",225,"\u003Cp>Jingcheng, Yi’an Film & Television\u003C\u002Fp>\n\u003Cp>After a period of research and exploration, Yan Li personally oversaw the reorganization and restructuring of the company’s internal departments.\u003C\u002Fp>\n\u003Cp>The flagship department, Film & Television, was split into the [Film Department] and [TV Department]; the TV Department handles TV drama operations, while the Film Department manages film investment and production.\u003C\u002Fp>\n\u003Cp>Another flagship department, Marketing, was restructured into the [Distribution Department], internally divided into two divisions responsible for TV and film distribution respectively.\u003C\u002Fp>\n\u003Cp>All original marketing duties such as advertising and commercial work were moved out and merged with related functions from the Artist Agency Department to form the [Advertising Department].\u003C\u002Fp>\n\u003Cp>Alongside the relatively unchanged [Artist Agency Department], these now constitute Yi’an Film & Television’s main operational departments.\u003C\u002Fp>\n\u003Cp>There were also minor changes at the executive level.\u003C\u002Fp>\n\u003Cp>For example, former Marketing Director Xiao Guan was promoted to Vice President, overseeing distribution and advertising operations.\u003C\u002Fp>\n\u003Cp>Former Artist Agency Director Jia Qian was promoted to Vice President but retained her original position, continuing to manage artist agency affairs.\u003C\u002Fp>\n\u003Cp>The former head of Film & Television was also slated for promotion, but Yan Li deemed him incompetent and had already considered letting him go; the successor for the TV Department was the familiar face Wang Decai, while the newly created Film Department was temporarily managed by the Deputy Director.\u003C\u002Fp>\n\u003Cp>Yan Li’s secretary, Hu Ya, had also “grown from daughter-in-law to mother-in-law,” becoming the Director of the newly established [President’s Office].\u003C\u002Fp>\n\u003Cp>In fact, the President’s Office had long been taking shape, with Hu Ya and others handling Yan Li’s various corporate and personal affairs.\u003C\u002Fp>\n\u003Cp>Previously, it had been vague—no formal department, just Yan Li’s secretaries and assistants clustered together, some even temporarily assisted by the Administration Department.\u003C\u002Fp>\n\u003Cp>Strictly speaking, Hu Ya wasn’t even their official leader, but due to her seniority and being Yan Li’s most trusted secretary—some even trained by her herself—they all followed her lead.\u003C\u002Fp>\n\u003Cp>Now, with the President’s Office officially established, Hu Ya and her team finally received formal recognition.\u003C\u002Fp>\n\u003Cp>The meeting lasted all morning, bringing joy to some and sorrow to others.\u003C\u002Fp>\n\u003Cp>Some were promoted; others weren’t, but their authority expanded, so they were naturally happy.\u003C\u002Fp>\n\u003Cp>Some remained stagnant, saw their power shrink, or were even sidelined—considering their next move, their moods were certainly poor.\u003C\u002Fp>\n\u003Cp>Yan Li observed all this but paid it little mind.\u003C\u002Fp>\n\u003Cp>Since its founding, Yi’an had grown from a handful of people to nearly 300 employees, and hiring continued.\u003C\u002Fp>\n\u003Cp>Moreover, Yi’an was merely one of Yan Li’s companies.\u003C\u002Fp>\n\u003Cp>Yan Ye Capital, primarily an investment firm, had few employees but was far from a one- or two-person operation.\u003C\u002Fp>\n\u003Cp>Many of Yan Li’s investment companies and projects were also overseen and managed by Yan Ye.\u003C\u002Fp>\n\u003Cp>For instance, Yi’an Media, which held vast copyright portfolios but had limited operations and functioned more like a shell company, was directly attached to Yan Ye Capital.\u003C\u002Fp>\n\u003Cp>Thus, Yan Ye and its affiliated companies together employed dozens of staff.\u003C\u002Fp>\n\u003Cp>The largest workforce, however, belonged to Yi’an Cinema Chain.\u003C\u002Fp>\n\u003Cp>Because cinema chains involve physical theaters and are directly operated, the number of employees was inevitably substantial.\u003C\u002Fp>\n\u003Cp>Even a single directly operated cinema required staff for front desk, ushers, projectionists, cleaners, equipment management, administration, marketing, and more—ranging from a dozen to several dozen people.\u003C\u002Fp>\n\u003Cp>Although Yi’an Cinemas were still under construction, many employees had already begun recruitment and preparation.\u003C\u002Fp>\n\u003Cp>Combined, the chain’s headquarters staff, early personnel for major theaters, and employees absorbed from acquired theaters already exceeded Yi’an’s total headcount.\u003C\u002Fp>\n\u003Cp>Additionally, there were smaller side ventures like Yi’an Internet Cafés, with both full-time and part-time staff.\u003C\u002Fp>\n\u003Cp>Roughly speaking, the number of people relying on Yan Li for their salary was nearly a thousand, if not already there.\u003C\u002Fp>\n\u003Cp>With so many employees, Yan Li couldn’t possibly attend to every one’s feelings.\u003C\u002Fp>\n\u003Cp>Positions and real power were limited; when some rose, others fell, some rejoiced, others resented.\u003C\u002Fp>\n\u003Cp>Except for a very few, Yan Li remained calm—if someone truly didn’t fit, they were free to leave; he respected and wished them well.\u003C\u002Fp>\n\u003Cp>Compared to the emotions of individual employees, Yan Li cared more about coordination among departments.\u003C\u002Fp>\n\u003Cp>The departure or retention of a single employee mattered little, but conflicts between departments could easily harm company interests.\u003C\u002Fp>\n\u003Cp>Yan Li had hesitated over the restructuring of Marketing and Film & Television.\u003C\u002Fp>\n\u003Cp>Even now, he remained uncertain whether to bundle film operations together or split them into Distribution and Film Departments—each option had pros and cons.\u003C\u002Fp>\n\u003Cp>Yet, he ultimately divided them into Film and Distribution Departments because film operations were too weak and needed to draw nourishment from two strong departments.\u003C\u002Fp>\n\u003Cp>Especially film distribution, which required personnel, channels, and resources—all heavily dependent on the Distribution Department’s support.\u003C\u002Fp>\n\u003Cp>Splitting into two departments, one strong and one weak, would inevitably lead to friction.\u003C\u002Fp>\n\u003Cp>So Yan Li separated distribution into its own unit, planning to reassess later whether to merge it with film operations once the latter matured.\u003C\u002Fp>\n\u003Cp>Just like the Advertising Department, originally a small subgroup within Marketing, which, after growing using company resources and artist leverage, was spun off into its own department by Yan Li.\u003C\u002Fp>\n\u003Cp>Company growth isn’t static—it evolves with shifting business priorities.\u003C\u002Fp>\n\u003Cp>This reorganization isn’t final; if something proves flawed, it can be revised—or even scrapped and restarted.\u003C\u002Fp>\n\u003Cp>A powerful boss like Yan Li, who built the company from scratch and holds absolute control, certainly possesses the resolve and authority to do so.\u003C\u002Fp>\n\u003Cp>A powerful boss like Yan Li, who built the company from the ground up and holds absolute controlling stakes, certainly does not lack such resolve and authority.\u003C\u002Fp>\n\u003Cp>After the general meeting came smaller meetings, even one-on-one chats between Yan Li and relevant managers.\u003C\u002Fp>\n\u003Cp>Yan Li spent the most time discussing Distribution, as upcoming film distribution work and internal team balance presented both internal and external challenges—he couldn’t afford to ignore them.\u003C\u002Fp>\n\u003Cp>Vice President Xiao Guan and the newly appointed Distribution Director briefed Yan Li on the Distribution Department’s operations.\u003C\u002Fp>\n\u003Cp>Last year, Yi’an’s distribution arm gained prominence, becoming the leading company in TV drama distribution, attracting many production teams.\u003C\u002Fp>\n\u003Cp>TV stations, impressed by Yi’an’s stable performance, had built considerable trust and established numerous long-term partners.\u003C\u002Fp>\n\u003Cp>The distribution team had matured, producing many key personnel; many projects no longer required Yan Li’s direct involvement.\u003C\u002Fp>\n\u003Cp>Of course, without Yan Li personally overseeing, some projects might have lower efficiency and returns—but that’s a necessary trade-off for company growth.\u003C\u002Fp>\n\u003Cp>As boss, Yan Li couldn’t be on the front lines every day.\u003C\u002Fp>\n\u003Cp>In the future, Yan Li would personally handle fewer distribution projects, and eventually, he wouldn’t focus on any single project at all.\u003C\u002Fp>\n\u003Cp>But the empire built by “Movie King” Yi’an wouldn’t collapse; the channels and resources Yi’an had accumulated would remain its greatest asset for future distribution.\u003C\u002Fp>\n\u003Cp>At that time, Yi’an Distribution might not be as miraculous or brilliant under Yan Li’s leadership, but it would remain stable and powerful.\u003C\u002Fp>\n\u003Cp>Of course, that’s for the future.\u003C\u002Fp>\n\u003Cp>Yan Li, the “Movie King,” wasn’t ready to retire yet; he still personally oversaw key projects, but now placed greater emphasis on team development and channel building, laying groundwork for eventually stepping back from distribution.\u003C\u002Fp>\n\u003Cp>Yi’an had established a fixed and successful model for TV drama distribution, but for film distribution, it was still exploring.\u003C\u002Fp>\n\u003Cp>“For ground promotion, don’t fear hassle or losses—the company can afford the salaries of a hundred or so people; establish offline networks in first- and second-tier cities across the country…”\u003C\u002Fp>\n\u003Cp>Yan Li had seriously studied the ground promotion distribution strategy; though “clumsy,” it was undeniably effective.\u003C\u002Fp>\n\u003Cp>At this stage, the internet was still rising, and film promotion and distribution methods remained limited.\u003C\u002Fp>\n\u003Cp>Main creative teams appeared on TV shows, gave media interviews, held press conferences and premieres—touring roadshows weren’t even common.\u003C\u002Fp>\n\u003Cp>Theater chains and individual cinemas held strong autonomy; production teams and distributors couldn’t interfere, and many didn’t even understand the data beyond rough figures.\u003C\u002Fp>\n\u003Cp>But if you could deploy a film distribution network offline, precisely targeting relevant groups in each city, it would be different.\u003C\u002Fp>\n\u003Cp>Take a single city: local ground teams could build relationships with nearby cinemas, persuading them to increase screening slots or adjust auditoriums.\u003C\u002Fp>\n\u003Cp>On paper, each screening is one screen, one film—but auditorium size, comfort, and whether it’s during peak viewing hours directly affect box office results.\u003C\u002Fp>\n\u003Cp>One film screens at 3 p.m. in a remote small hall, no air conditioning, only thirty to forty seats.\u003C\u002Fp>\n\u003Cp>Another screens at 7–8 p.m. in a large hall with over a hundred seats, full air conditioning and cleanliness.\u003C\u002Fp>\n\u003Cp>Which one earns more? No need to explain.\u003C\u002Fp>\n\u003Cp>Beyond cinema communication, you could also directly reach offline audiences through posters, displays, and live events.\u003C\u002Fp>\n\u003Cp>Two people enter a cinema, see three films playing, unsure which to pick.\u003C\u002Fp>\n\u003Cp>At that moment, the largest, most prominent poster in the middle, with staff offering promotion and free gifts during events, might sway their decision.\u003C\u002Fp>\n\u003Cp>Some viewers originally came for another film but, influenced by promotion, changed their minds—or watched one film and returned for another.\u003C\u002Fp>\n\u003Cp>Beyond cinemas, you could also promote at universities, malls, and office buildings—places with high potential audiences.\u003C\u002Fp>\n\u003Cp>On weekends, couples or friends go out to watch movies; if promotion is strong, a single poster could attract dozens of pairs to buy tickets.\u003C\u002Fp>\n\u003Cp>Additionally, target local media and radio stations—don’t underestimate them; though small and obscure, they still wield considerable local influence.\u003C\u002Fp>\n\u003Cp>A local lifestyle segment touting a film’s popularity in the area, claiming “everyone’s watching,” would draw many curious viewers.\u003C\u002Fp>\n\u003Cp>Corporate group tickets, store promotions with coupons, and other such tactics—all these small things truly influence choices.\u003C\u002Fp>\n\u003Cp>One or two people don’t matter; one or two cities might seem insignificant—but when multiplied across dozens of cities nationwide, the impact becomes substantial.\u003C\u002Fp>\n\u003Cp>Annual reports show that Guangxian, with aggressive ground promotion and media resources, sometimes boosted a film’s box office by 30%.\u003C\u002Fp>\n\u003Cp>The cost was low: just one or two ground promoters per city, supplemented by part-time college students, could achieve much.\u003C\u002Fp>\n\u003Cp>Even with added event and promotion expenses, compared to exorbitant premieres or frantic media spending, the cost was low—even extremely low.\u003C\u002Fp>\n\u003Cp>“Localized distribution, human wave tactics, point-and-area integration, hyper-localized, hyper-detailed—President Yan, your distribution strategy is brilliant.”\u003C\u002Fp>\n\u003Cp>The Deputy Director of Film Distribution raised his thumb in admiration.\u003C\u002Fp>\n\u003Cp>He was formerly from China Film Group, familiar with major theater chains and industry operations, recruited by Yan Li to Yi’an.\u003C\u002Fp>\n\u003Cp>At first, he carried himself as a film distribution expert, intending to teach Yi’an’s newcomers—but was quickly humbled by Yi’an’s plan.\u003C\u002Fp>\n\u003Cp>Compared to Yan Li’s distribution strategy, China Film Group’s methods seemed crude, as if they weren’t even in the same industry.\u003C\u002Fp>\n\u003Cp>“Don’t flatter me—I’m just building on others’ ideas.”\u003C\u002Fp>\n\u003Cp>Yan Li wasn’t being modest; ground promotion wasn’t invented by Guangxian—it had long existed, with similar practices in Hollywood and Hong Kong.\u003C\u002Fp>\n\u003Cp>Moreover, ground promotion wasn’t limited to film; industries like real estate, education, gaming, and internet+offline all employed it to varying degrees.\u003C\u002Fp>\n\u003Cp>“No, no, ground promotion exists, but I’ve never seen such a detailed, precise film distribution plan as yours.”\u003C\u002Fp>\n\u003Cp>The Deputy Director insisted, but Yan Li didn’t argue.\u003C\u002Fp>\n\u003Cp>Of course he hadn’t seen it—this plan was Yan Li’s synthesis of Hong Kong and Hollywood experience, combined with current mainland film market conditions, enriched by Guangxian’s strategies and post-event distribution techniques refined through system-triggered insights.\u003C\u002Fp>\n\u003Cp>Not only had this Deputy Director never seen it—had he shown it to Guangxian’s Wang or its senior executives, they’d be stunned.\u003C\u002Fp>\n\u003Cp>He had never seen it before, because this plan was crafted by Yan Li, drawing on experience from Xiangjiang and Hollywood, integrating the current mainland film market, and refining it by eliminating the superfluous and highlighting strengths, after incorporating numerous lighting strategies and systemic triggering techniques from future releases.\u003C\u002Fp>\n\u003Cp>Not only had this deputy director never seen it, but even if it were presented before Wang of Guangxian and the senior leadership, they would be stunned.\u003C\u002Fp>\n\u003Cp>After all, Lightline is still in its early stages of entering the film and television industry, exploring and learning on all fronts.\u003C\u002Fp>\n\u003Cp>But Yan Li directly adopted the successful path Lightline had forged through years of trial and error, adding to it advanced distribution techniques from the future.\u003C\u002Fp>\n\u003Cp>It’s like one is groping across a river in darkness, while the other stands on the shoulders of giants, holding a super spotlight.\u003C\u002Fp>\n\u003Cp>Yet Yan Li did not underestimate Lightline.\u003C\u002Fp>\n\u003Cp>He could copy Lightline; Lightline could also “copy” him.\u003C\u002Fp>\n\u003Cp>Even if some key elements were uncertain, Lightline’s years of accumulated channels, resources, and team could still help close the gap as much as possible.\u003C\u002Fp>\n\u003Cp>Therefore, seizing the initiative doesn’t mean Yan Li can easily crush or replace Lightline.\u003C\u002Fp>\n\u003Cp>In the future film distribution market, Yi’an, Lightline, and Bona will inevitably collide.\u003C\u002Fp>\n\u003Cp>Of course, it might also be cooperation.\u003C\u002Fp>\n\u003Cp>As always, business competition isn’t about life or death; mutual exchange and shared prosperity are the real principles.\u003C\u002Fp>\n\u003Cp>Yan Li personally oversaw the construction of the ground promotion network, demanding it be completed as soon as possible—the first battle would be the June release of “Crazy Stone.”\u003C\u002Fp>\n\u003Cp>For those in distribution, reputation matters.\u003C\u002Fp>\n\u003Cp>Yan Li intended to use this rumored “dark horse” film to break open Yi’an’s film distribution market.\u003C\u002Fp>\n\u003Cp>After the afternoon meeting ended, it was past quitting time; Yan Li had no evening engagements, so he invited several senior executives to dinner.\u003C\u002Fp>\n\u003Cp>Strengthen bonds with old subordinates, draw closer to new ones.\u003C\u002Fp>\n\u003Cp>This is a mandatory skill for any boss—occasionally bonding with trusted team members, especially in startups and growth-phase companies; beyond compensation, emotional ties and loyalty-building are essential.\u003C\u002Fp>\n\u003Cp>With both personal connection and profit, people will faithfully rally around you and work hard for you and your company.\u003C\u002Fp>\n\u003Cp>The dinner was held at Qiaojiangnan, one of the more popular mid-to-high-end restaurants at the time; Yan Li had been there twice before for business and approved of the food, ambiance, and service, so he brought his subordinates to try it.\u003C\u002Fp>\n\u003Cp>For private gatherings among insiders, Yan Li had made one rule: no work talk—just eat, chat, and share amusing gossip.\u003C\u002Fp>\n\u003Cp>Those who wanted to drink could have a little, but no forced toasts or drinking contests.\u003C\u002Fp>\n\u003Cp>Not to mention Yan Li himself—the distribution department staff were all heavy drinkers; they could outdrink anyone from other departments.\u003C\u002Fp>\n\u003Cp>While they were eating, someone knocked on the private room door; an associate director opened it, and two men stood outside—the lead one was familiar to most at Yi’an.\u003C\u002Fp>\n\u003Cp>Deng Chao!\u003C\u002Fp>\n\u003Cp>He gained some fame from “The Young Emperor,” and last year starred alongside Sun Li in “Happiness Is Like a Flower,” which did well; he also appeared in “Young Bao Qingtian 3,” reaping the final benefits of the series.\u003C\u002Fp>\n\u003Cp>With several hit dramas stacked together, Deng Chao’s personal popularity soared, and he was now barely considered a rising star.\u003C\u002Fp>\n\u003Cp>Deng Chao didn’t enter uninvited; he first asked if it was convenient—or rather, whether Yan Li approved—and only entered after receiving permission to offer a toast.\u003C\u002Fp>\n\u003Cp>“Director Yan, I just saw you here and wanted to say hello. Sorry for intruding—please forgive me.”\u003C\u002Fp>\n\u003Cp>Dropping in to toast in someone’s private room isn’t casual; without a proper relationship or reason, it’s just disturbing their meal.\u003C\u002Fp>\n\u003Cp>Though Deng Chao wasn’t close to Yan Li, they had interacted before.\u003C\u002Fp>\n\u003Cp>During the casting for “The Legend of Lu Xiaofeng,” Deng Chao was once among the top candidates for one of the lead roles.\u003C\u002Fp>\n\u003Cp>Though they never collaborated, they had contact; Deng Chao came specifically to toast Yan Li under the pretext of thanking him for his consideration and expressing regret over their missed opportunity.\u003C\u002Fp>\n\u003Cp>After brief pleasantries, Deng Chao downed his cup of baijiu in one gulp; Yan Li stood up and matched him with a drink.\u003C\u002Fp>\n\u003Cp>Deng Chao was flattered and felt honored, then introduced the man beside him.\u003C\u002Fp>\n\u003Cp>He was Deng Chao’s old teacher from the Central Academy of Drama, named Tian Youliang; besides teaching, he directed stage plays and had several commercially successful productions.\u003C\u002Fp>\n\u003Cp>Yan Li had never heard his name, but remained courteous.\u003C\u002Fp>\n\u003Cp>For acquaintances with no vested interests, he generally didn’t give cold shoulders; offering a smile cost nothing, and there was no need to earn a reputation for arrogance.\u003C\u002Fp>\n\u003Cp>Deng Chao and Tian Youliang didn’t stay long; after toasting and exchanging a few words, they left.\u003C\u002Fp>\n\u003Cp>Yan Li didn’t think much of it, dismissed the incident, and continued dining with his subordinates—but back in their private room, Deng Chao and Tian Youliang kept talking about Yan Li.\u003C\u002Fp>\n\u003Cp>“He’s not arrogant at all.”\u003C\u002Fp>\n\u003Cp>Tian Youliang sighed; many in the industry smile on camera but ignore you off-camera, and some even fly into rages or mock you outright.\u003C\u002Fp>\n\u003Cp>Yan Li rose to fame young and, due to his public feuds with Zhang Dahu, had a rather flamboyant media image.\u003C\u002Fp>\n\u003Cp>So Tian Youliang had imagined Yan Li as proud, aloof, or haughty; he hadn’t expected him to be so approachable in person.\u003C\u002Fp>\n\u003Cp>“He’s not unarrogant—he just doesn’t show it outwardly, and he certainly doesn’t act arrogant toward people like us.”\u003C\u002Fp>\n\u003Cp>Deng Chao knew many people in the entertainment circle and understood Yan Li better than Tian Youliang.\u003C\u002Fp>\n\u003Cp>A young man who’d become a major figure in the industry couldn’t possibly lack arrogance—he just didn’t bother showing it to people who were irrelevant to him.\u003C\u002Fp>\n\u003Cp>Who would waste time putting on airs for stray cats and dogs on the street?\u003C\u002Fp>\n\u003Cp>Tian Youliang nodded, agreeing Deng Chao had a point, then chewed over his words.\u003C\u002Fp>\n\u003Cp>“You know what? His outward humility, inner confidence, and self-assurance—he’s almost like Meng Hao from ‘The Hard Life of a Diamond Old Man.’”\u003C\u002Fp>\n\u003Cp>“Don’t even say that.”\u003C\u002Fp>\n\u003Cp>Though teacher and student, their age gap wasn’t huge, and they were close—more like friends or brothers; hearing Tian Youliang’s remark, Deng Chao couldn’t help but tease.\u003C\u002Fp>\n\u003Cp>“Young, worth hundreds of millions, handsome, domineering and devoted—except for the last trait, which one doesn’t fit Yan Li? If the novel hadn’t already been published, I’d swear it was written about him.”\u003C\u002Fp>\n\u003Cp>As he spoke, Deng Chao suddenly realized: “Wait a minute—you said I was going to play him, Old Tian, Teacher Tian—I’m your top disciple!”\u003C\u002Fp>\n\u003Cp>“Who said I’d change it? Besides, even if I wanted to, could you play him?”\u003C\u002Fp>\n\u003Cp>Deng Chao thought about it—he certainly couldn’t compete with Yan Li in portraying a business elite; Yan Li was just playing himself.\u003C\u002Fp>\n\u003Cp>But Yan Li probably didn’t have the time—or even care—to take on such a drama.\u003C\u002Fp>\n\u003Cp>Only those who hadn’t lived it wanted to play it; Deng Chao himself was eager to portray such a charismatic young tycoon, but Yan Li already was one—what’s the point of him playing himself?\u003C\u002Fp>\n\u003Cp>“You know what? After seeing Director Yan just now, I actually felt I got a little of that vibe.”\u003C\u002Fp>\n\u003Cp>Deng Chao recalled how Yan Li had sat and chatted with him, then stood to toast; he mimicked the posture for Tian Youliang.\u003C\u002Fp>\n\u003Cp>“How was that? Did I get it?”\u003C\u002Fp>\n\u003Cp>“Not really.”\u003C\u002Fp>\n\u003Cp>Tian Youliang shook his head; if he’d only seen Deng Chao’s version, he might’ve thought it had a hint of the right feel.\u003C\u002Fp>\n\u003Cp>But compared to Yan Li, the difference was clear—lacking the inner conviction, lacking that presence.\u003C\u002Fp>\n\u003Cp>“If I had that presence, I’d be the big boss already.”\u003C\u002Fp>\n\u003Cp>Deng Chao grumbled; no matter how good an actor was, he couldn’t match reality—getting even a fraction of the essence was already excellent.\u003C\u002Fp>\n\u003Cp>With the right script, editing, atmosphere, costume, and makeup, an actor might even seem more authentic than the real boss to many viewers.\u003C\u002Fp>\n\u003Cp>Tian Youliang didn’t argue; he turned his thoughts to another matter: “Do you think Yi’an might be interested in this script?”\u003C\u002Fp>\n\u003Cp>The script had existed for a while, but whether anyone would invest was another matter; Tian Youliang didn’t want to let it go, and previous talks with investors had all fizzled out.\u003C\u002Fp>\n\u003Cp>He’d discussed this script with Deng Chao several times before, but they hadn’t mentioned it lately.\u003C\u002Fp>\n\u003Cp>Meeting Yan Li today had stirred his memory of Yi’an.\u003C\u002Fp>\n\u003Cp>“Hey, I think we should give it a try.”\u003C\u002Fp>\n\u003Cp>Deng Chao’s eyes lit up—he’d heard Yi’an had money and distribution channels, but was weak in content creation; they’d gathered many screenwriters and scripts, yet few projects had materialized.\u003C\u002Fp>\n\u003Cp>He had confidence in Tian Youliang’s script; maybe it would catch Yan Li’s attention.\u003C\u002Fp>\n\u003Cp>“Should we pitch it to him now?”\u003C\u002Fp>\n\u003Cp>Tian Youliang was eager, but Deng Chao stopped him: “That’d seem too opportunistic. Let’s wait a bit. If nothing else, I’ll just call Director Yan and recommend it outright.”\u003C\u002Fp>\n\u003Cp>Deng Chao wasn’t shameless—he feared losing the role, so he wanted to proactively connect and stay visible.\u003C\u002Fp>\n\u003Cp>Also, his current talent agency contract expired in a year.\u003C\u002Fp>\n\u003Cp>Frankly, the agency now offered him insufficient resources—or rather, resources insufficient to push him further; Deng Chao had already begun considering switching agencies.\u003C\u002Fp>\n\u003Cp>There were only a few agencies suitable for Deng Chao’s next move.\u003C\u002Fp>\n\u003Cp>Yi’an wasn’t his top choice, but it was on the list—he wanted to build rapport and probe Yi’an’s stance…\u003C\u002Fp>\n\u003Cp>————\u003C\u002Fp>\n\u003Cp>ps: Ten thousand words can’t be written in one go—there’s one more chapter\u003C\u002Fp>\n\u003Cp>(End of Chapter)\u003C\u002Fp>",3514,"2026-06-19T16:16:54.562Z",1,"Qwen3-Next 80B","9e878f82633293a402f429ff87226ac33e6c041a924978e3fef8f7def04bad2b","the-intelligence-king-of-chinese-entertainment-chapter-226","the-intelligence-king-of-chinese-entertainment-chapter-224",405,"https:\u002F\u002Fnovelzhen.com\u002Fimages\u002Fcovers\u002Fthe-intelligence-king-of-chinese-entertainment-cover.jpg"]