After the awards were presented, the organizers held a party as usual.
Just like the Oscars in the celebrity world, in Cannes, the sponsors weren't that high-profile, and the event had a simple name: Cannes Night.
All those who had just competed for the awards swiftly gathered on a beach area, which was the venue provided for them.
Interestingly enough, despite being outdoors, the atmosphere was even more relaxed and comfortable.
Lyman hadn't initially planned to attend, as these typical events were becoming monotonous. He found them troublesome—making connections and mingling in circles didn't interest him much, and this party certainly wasn't up to par.
However, when he heard from George that some Chinese film distributors wanted to talk with him about something, he agreed to come.
...
The relationship between the Cannes Film Festival and the Chinese film industry had always been close, whether unofficially or officially.
It was well-known that China had always had quotas for buying and distributing foreign films.
Starting from the late 1970s, mainly China Film was responsible for importing films. Of course, Huaxia Film Distribution also had the qualifications, but it usually played a smaller role.
Initially, China relied on buying the rights to distribute films. For instance, in 1939, the first film purchased and distributed with rights was the Soviet film "Lenin in 1918". It wasn't until 1994, with the Hollywood blockbuster "Speed" being the first film to be imported under a profit-sharing model, that this pattern changed. This marked the opening of China's relatively closed film market and signaled the official start of the quota system for importing profit-sharing films.
This quota system theoretically specified that the national cinemas could show about 64 imported films each year. This included profit-sharing films, flat-fee films, and a portion of co-produced films. Interestingly, films produced in Hong Kong, Macau, and Taiwan were technically also imported films, but they didn't count towards the quota.
In China, only China Film was allowed to import profit-sharing films. Huaxia Film Distribution didn't have that qualification, but they could collaborate with cinemas for distribution.
So, what does "profit-sharing film" mean?
It's quite simple, actually. It means that the film's copyright owner doesn't sell the distribution rights but instead entrusts a local organization to distribute it. They agree on a profit-sharing ratio in advance, and the distribution fee is calculated based on the film's box office earnings in the local market. This quota was set at 20 films per year. Notably, from 1994 to 2000, it was initially 10 films per year, which increased to 20 films per year after China's entry into the WTO in 2001. In 2012, after China and the U.S. reached a memorandum of understanding, the quota was further increased to 14 films per year for 3D and IMAX films.
This quota of 20 profit-sharing films includes 14 American films and 6 other international or regional films.
Overall, it's aimed at achieving a certain balance.
As for why they wanted to talk to Lyman, it was because he was being approached by the China Film delegation responsible for selecting films at Cannes.
Their task was quite simple: to find a film suitable for importing to China at the Cannes Film Festival, then return home and arrange for its screening. This was the routine work they did every year.
Aside from profitability, their focus was more on cultural and strategic considerations.
And due to their market advantages, the three major film festivals naturally became the most ideal venues for China Film to acquire films. Almost every year, they would send representatives to attend these festivals. This time, they had also identified a film.
"The movie "Miscreant", starring Tom Cruise," the team leader Han Cheng read the information on the form. "And Nicolas Cage is in it too. They're both familiar faces."
No need to elaborate on Tom. The "Mission: Impossible" series had made quite a name for itself in the Chinese market. As for Nicolas, there was no need for introduction either. Most of the films he starred in had been imported and screened in China. Among the foreign actors known by the Chinese public, Nic's name definitely stood out.
"And who's this Heath Ledger?" Han Cheng inquired.
"Oh, he's an Australian actor. He recently starred in "Fury", and the box office results were impressive." Several team members provided additional information. China Film was always cautious when selecting films; they represented the official standpoint.
"Has he been involved in any misconduct?"
"He hasn't participated in any controversial film projects, and his public social activities are also clean. As for his private life, we're not sure," a team member responded truthfully. "But even if there were any, no one knows about it, so it probably wouldn't have a significant impact."
"And what about the other actors or creative team members?" Han Cheng continued.
"Director Lyman and the creative team are all French. There haven't been any negative reports."
Han Cheng breathed a sigh of relief and made a note on the film. "Then let's prepare to negotiate for the acquisition of this film."
In any case, China Film was still a business, and if everything checked out, they would naturally prioritize profitability.
"But there are a few scenes that are too gory and violent. Is that a concern?" One of the team members expressed worry.
"No problem, I'll personally watch it. Are the main actors well-known and established? They're also familiar faces. We can just trim a few scenes."
Han Cheng wasn't concerned about this matter. Almost all imported films went through some level of scene cuts. As long as it didn't involve other issues, it would be much easier to handle. For example, actors like Brad Pitt were officially banned from coming to China because of his involvement in a 1997 film that ostensibly insulted China. The same goes for Angelina Jolie. This illustrates the standards based on ideological and cultural strategies.
Since they had decided to acquire "Miscreant", Han Cheng contacted EuropaCorp, the relevant distribution company. Later, George took charge of this matter, but due to the scene cuts, the negotiations were postponed until Cannes Night, where they would meet face-to-face.
In the evening, a gentle sea breeze mixed with the mist brushed against their faces.
Already transformed into a bonfire party combined with a beach buffet, Lyman and George met with the representatives from China Film.
"Congratulations to Director Lyman for winning the Jury Prize. I'm Han Cheng." Starting the conversation with some kind words was the best way to establish rapport and was also very conducive to the negotiations that would follow.
"Thank you," Lyman shook hands with him, offering a friendly smile. "I'm wondering what brings you all here."
Straightforward and direct. Perfect.
Having dealt with foreigners frequently, Han Cheng no longer wasted time with pleasantries and continued, "I assume Mr. George has already briefed you to some extent. We're here to discuss the matter of acquiring and distributing the film. I watched this film in the theater, and to be honest, it's wonderfully made. However, there are some...," he hesitated, "very violent scenes. We want to discuss the possibility of making edits. What are your thoughts on this?"