Bright Shadow Films

Well if you haven’t watch this movie, you should spend some time online reading about the review, sadly due to the current situation of the Avatar situation in China, the box office is not going very well, although it seems the DaDi Film Co is trying something in foreign land.

Here is a few things came from Screendaily:

Chow Yun-fat is the main attraction in Confucius, a ponderous and weakly-imagined attempt at repackaging the ancient sage for the blockbuster era. Hu Mei’s (For All Eternity) film includes both battle sequences and an attempted seduction of the legendary philosopher in hopes of drawing mainstream audiences, but a lack of narrative development results in a film that is neither entertaining nor enlightening.

From what you can see in the trailer actually the film images looks alright, although the main complain from the audience are focus on “story”, but it’s still worth most people and their pop-corn.

• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• In need of cash, Hollywood looks to India, China
• The Insider’s Guide to Shooting in China
• What is a Sino-foreign co-production?
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Application materials for a Sino-foreign co-production
• Showreel

This article is originally from here

Photographers are heading to China in droves right now, whether for the coming Olympics in Beijing (August 8-24), to cover the aftermath of the tragic May 12 earthquake in Sichuan province — or just to shoot stock: China’s ferocious growth and rapidly changing economy have made it a perennially hot news property.

“It’s an unusual time of openness in China, which is traditionally a xenophobic country, thanks to the Olympics and the earthquake, ” says Jeff Greenwald, executive director of Ethical Traveler , a project of the Earth Island Institute. “That openness is a two-way street. People traveling to China, particularly Americans, can try to counteract some of the negative images that China has of us from its media.”

But this is a very politically sensitive country. Attempting to shoot certain subjects—anything to do with say, Tibet, religion, state executions, and disease—can get you in trouble with the authorities. Along with Greenwald, PDNOnline talked to ten photographers who have shot in mainland China to get their tips for those new to the country. Several living in or frequently working in China spoke on the condition of anonymity. Those who spoke to us on the record are:

Monte Isom, a commercial photographer who specializes in portraits of athletes
Catherine Karnow, photographer behind National Geographic Traveler: Beijing
Wayne Liu, a Taiwan-born fine-arts shooter
Mads Nissen, a freelance photojournalist based in Shanghai
Sara Remington, a food and travel photographer
James Whitlow Delano, a Tokyo-based photographer with Redux Pictures and author of Empire: Impressions from China

BEFORE YOU GO

Vaccines: Many photographers recommended getting the Hepatitis B vaccine.
The Centers for Disease Control has a Web site for China with a full health briefing.

Visas: Note that your passport has to be valid for at least six more months. The visa situation has changed several times in the past few months. Check the Chinese Embassy’s Web site for the most up-to-date requirements.

Everyone had an opinion on getting a tourist or business visa versus an official journalist visa:

“We went in on a tourist visa to shoot a wedding and pick up stock. The photographer I went with and I had four camera bodies and 10 lenses. But she and I purposefully made ourselves look younger and separated ourselves.”—Remington

“When I was freelancing, I was on a business visa because I wanted to stay completely off the radar. Now, I am staff and on a J-1 (resident journalist) visa, as it is required by my company. There are benefits to being unregistered and registered. Unregistered allows more freedom to move and work on sensitive stories, but you run the risk of being deported, arrested, or having your contacts get arrested. Being registered allows you to do official events and work openly, but it is restricted. Registered journalists are not allowed to visit Tibet unless invited, and the invitation is difficult to obtain.”—Photojournalist based in China

“It depends on how much you have to lose. If you were going to come and shoot a big production with a lot of lights and models, you kind of need to get a proper visa. The police can close your operation down in a second.”—Beijing-based documentary photographer

“The business visa situation was changing constantly this year. Even my local Chinese producer couldn’t get it all put together. We needed a letter of invitation from the company hiring me, proof the airfare was confirmed and booked, hotel confirmed and booked, two passport photos, a letter from me to my assistants saying I was hiring them and they needed a visa, and an official invitation from the correct department. And that’s for one month. For a multiple-entry visa you need to prove why you need to come in and out.”–Isom

SHOOTING

Street/stock photography:

“The first thing to remember about China is that it’s not just one ethnic group. You can’t make assumptions about how people will feel about having their photo taken, or the courtesies involved. People in Beijing on the street might be OK with you shooting without asking, but Muslim Chinese people in the southern regions might react every differently.”— Greenwald

“As a woman, you just look a lot less threatening. Sometimes I wear little open-toed sandal with a pedicure. I wanted to shoot this massive demolition scene from above. There was a hotel nearby overlooking it, but there is no way in China you can just go up to the manager and explain you’re shooting for a National Geographic guidebook and get permission. I pretended I was checking in, looked at several rooms, and then I ended up sneaking in through the kitchen and shooting from the fire escape. I stuck my camera in my nice big Coach purse.”—Karnow

Photojournalism and sensitive topics

“Sometimes the political situation is dominant (anti-NATO riots 1999, the annual party congress), and sometimes it fades. But during the Olympics you can be sure it will be forefront. It’s not like there are cops everywhere telling you not to shoot, but subjects might get touchy about mildest things during times of political stress. Be subtle and act innocent. —Documentary photographer

“There is a saying in China that it is easier to ask forgiveness than for permission (read: access). Act first, and chances are if you are mild mannered, good natured, and wear a smile, even authorities will forgive a photograph of a bridge, soldier, or some other moderately sensitive subject in this often loosely controlled one-party state.”—Whitlow Delano

Commercial photography

“Chinese clients typically do not pay the agency and have them pay you. If they did, it would cost them about 12-15 percent more because of invoice taxes etc. So the client pays you directly—except the client does not want to pay anyone outside of China because that incurs a 15 percent tax; there is a loophole in Hong Kong. So the best way to go about doing a job there is to find a local production, hire them to produce your job, and then they pay you. They will charge a premium, but it makes the Chinese company more willing to hire you. Also, negotiating with Chinese clients is much different than in the United States. They want a deal. Doesn’t matter where the starting price was, they want it to be lower. “—Isom

LOGISTICS

“Skype is great for calling back home. With an unlocked cell phone, you can get a local SIM card, put $50 on it, and SMS back and forth to your local clients and back to the States. People in China text a lot and won’t like paying international fees to text you while you’re just across the city.”—Isom

“For those of us who are accustomed to uploading and downloading via FTP, you will realize as soon as you get to China that FTP speeds are nowhere near where it once was.”—from Nissen’s handy posting on
Lightstalkers.org for using the Internet in China

“It’s easy to find cheap hostels; I used Lonely Planet. Don’t pay until you see the rooms. They might be sketchy, dirty, rat infested. I felt safe leaving my film and extra camera equipment in the hostels I stayed in.”—Liu

“The bathroom situation is interesting for women. Pack your own toilet paper —and hand sanitizer is good, too.”—Remington

FOOD

“I basically eat what the locals eat. But if I’m doing a pollution story on, for example, in a ‘cancer-village,’ I’ll bring my own food or eat instant noodles, though it can be pretty boring for a whole week. “—Nissen

“I always have antibiotics on hand because my experiences is that one gets sick at 2 a.m. not 2 p.m.”—Delano

“The person I was traveling with was allergic to gluten, which was impossible to explain to people. So if you have food sensitivities, bring plenty of protein bars, almonds, etc.”—Remington

PEOPLE

“If you don’t speak Chinese, find a hip and friendly bilingual local assistant. It’s pretty easy to chat young people up, but older folks feel more comfortable with a local person talking to them. Avoid the scams where English-speaking ‘art students’ try to show you ‘their works’ that you buy because they are so friendly, or take you to a tea shop where each cup is practically $50.”—Documentary photographer

“A good guide, a good ‘fixer,’ is absolutely critical. Smart, tireless, their English has to be good but not necessarily great. When I am shooting portraits, for me to be able to coax the expressions and gestures out of people, I need almost simultaneous translation.”—Karnow

ETHICS

“Be aware that your actions when uncovering sensitive issues may bring heavy consequences upon people who can not leave the country. Do not post names, photograph faces of people who are quoted commenting on sensitive topics that are contrary to government policy. The story is not worth ruining a good person’s life. Period.”—Delano

“If I were covering a sensitive story I would hire a translator who is not a Chinese national—who has a foreign passport, but who speaks Chinese fluently. I would try not to use a minority, like a Tibetan, to work on these issues. Because they’re already in a politically sensitive situation. As the photographer I do what I can do to protect the people I work with and who I photograph, but in the end it’s a really messed-up situation.”—Beijing-based documentary photographer

Freelance writer Bonnie Azab Powell lives in Oakland with her husband, portrait photographer Bart Nagel . She would like to go to China someday — but maybe after the Olympics.

• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• In need of cash, Hollywood looks to India, China
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

Hey Guys, here is a quick update about our film “The people of Republic desire”

We are currently working on the audition, finalize the big roles in the film, it’s going quite well and we are hoping to finish everything soon, but we are also searching for the small role cast, if you have a Chinese face with fluent English, feel free to send us your bio with previous work, we would love to send you some info regarding the audition.

Crew: Same as the casting, we are finalize the main crew member these days, if you willing to join the production, here are the available position:

Intern: For both pre-prod and prod

Assistant for different department: Art, Location, Equipment, Logistic, Talent Management, etc

prdthemovie@brightshadowfilms.com

Pic From here

• The Insider’s Guide to Shooting in China
• Production Equipment Rental List
• People’s Republic of Desire
• In need of cash, Hollywood looks to India, China
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

The People’s Republic of Desire hits Shanghai

Local film production company Bright Shadow Films is preparing to start filming on their debut feature-length film, The People’s Republic of Desire, an adaptation of Annie Wang’s 2006 novel. The shoot is scheduled for the middle of next month.

The novel has been dubbed a “Sex in the City for Chinese women” – centering on four female friends, just as in the TV show. “It’s about single women and love, but that’s not the only thing,” says Lucy Brydon, who co-wrote the script with Jenny Hammond. “It’s not quite so directly about romance – the book has a lot to offer in terms of Chinese culture as well.”

Although the original story is set in modern day Beijing, the film adaptation will be set in Shanghai. “Shanghai’s just a sexier city, no offense to Beijing,” Brydon says with a laugh. Author Wang was on hand during the adaptation process, and has given her approval of the treatment. “[Wang] kept tabs, but she didn’t have any strict guidelines. She’s a ball of energy – very smart, very cool,” says Brydon, also mentioning the challenge of adapting the book, which was originally comprised of columns, into a cohesive film narrative. “We basically started by taking all the dialogue and went from there,” she says.

Bright Shadow’s managing director Charlie Moretti, who will also act as the film’s producer, reveals – without giving too much away – that the film will be shot on location, all over the city, including scenes at “the Hyatt, 1933, Chinatown – all the famous landmarks that Shanghai residents will recognize.” The shoot will last six weeks, he says, beginning at the end of September and lasting through the fall.

Already attached to the project is UK actor Andrew Lincoln, who has previously appeared in 2003’s Love, Actually (which Moretti likens to PRD), Scenes of a Sexual Nature and numerous British TV shows. “It’s an ensemble piece – but Andrew is our male lead,” says Moretti, highlighting that the production will involve over 30 crew members. Also confirmed for the project is director Alexei Berteig and director of photography Mark Pugh. Bright Shadow is currently working to confirm several additional actors, including the film’s four female leads, who will be of Chinese descent.

The film will be shot in English, although Moretti confirms that there will be dubbing for a domestic Chinese release. Bright Shadow has big hopes for the film, with a multi-million RMB budget and plans for an international release. “We’re aiming for April 2010,” says Moretti. “[Coinciding with the Expo] is part of the point, but realistically, we always knew it would be in the second quarter April, and we want to release it as early as possible to get as many viewers as possible.”

• The Insider’s Guide to Shooting in China
• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• In need of cash, Hollywood looks to India, China
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

This Article Originally From:Reuters

LOS ANGELES (Reuters) – Disney’s $4 billion purchase of “Iron Man” moviemaker Marvel Entertainment signals a possible wave of media industry consolidation, but the cash to do deals may come from India or China, not Hollywood or Wall Street.

Even before Walt Disney Co (DIS.N) and Marvel Entertainment Inc (MVL.N) made their announcement on Monday, Hollywood watchers said Indian firm Reliance ADA Group’s recent $325 million investment in Steven Spielberg’s DreamWorks movie studio was a sign that opportunity exists for similar deals.

As the recession took hold in late 2007, Hollywood saw financing from U.S. hedge funds and banks dry up, and experts say Indian and Chinese firms are now in a better position to invest. For its part, Hollywood needs overseas cash to continue expanding globally where growth opportunities are strongest.

“If you have capital to invest, you can probably cut a better deal now than any time in the last ten years,” said Larry Gerbrandt, principal at consultancy Media Valuation Partners.

“A lot of Indian and Chinese companies have excess capital these days and Hollywood, aside from the fact there’s a certain glamour factor, those (Indian and Chinese) markets also need content, so there’s interesting deals to be made.”

Sky Moore, an attorney who worked with Reliance as it put together the DreamWorks financing package, said a bigger deal could be in the offing within two years.

“I think the bigger move is buying a studio, and I don’t know if it will be (a company from) India or China, but I think somebody is going to buy a studio,” Moore said.

STUDIO TARGETS

The Disney/Marvel deal fueled speculation DreamWorks Animation SKG Inc (DWA.O), maker of the “Shrek” movies and a separate company from DreamWorks Studios, could be next on the acquisition target list because of its solid position in the marketplace and focus on the lucrative family market.

Moore and Gerbrandt also named Metro-Goldwyn-Mayer Inc as a potential acquisition target, although they said they had no specific information of any deal in the works.

Rumors of MGM’s potential sale have surfaced for years. The storied Hollywood studio faces looming payments on $3.7 billion of debt from a 2005 buyout of the firm, and earlier this week it replaced its CEO and hired a turnaround expert.

Chinese film studios are strengthening ties with their peers across the Pacific. The Huayi group, which Morgan Stanley called “China’s Warner Bros for tomorrow,” has said it is seeking capital to expand and has developed movies with Hollywood majors such as Sony Pictures. Its larger rival, The China Film Group, is reportedly keen on developing projects in the United States as well.

India’s expanding reach into Hollywood has included Reliance’s purchase of about 50 U.S. theaters and Indian entertainment company UTV’s investment of tens of millions of dollars over the last three years in several movies, including “The Happening” and “The Namesake,” Moore said.

“It’s not about bringing Bollywood to Hollywood, it’s about mainstream worldwide English-language entertainment,” he said.

Hollywood studios have also made big investments in India. Warner Bros, a division of Time Warner Inc (TWX.N), has signed multi-picture deals with Indian companies People Tree Films and Ocher Studios.

Twentieth Century Fox, a division of News Corp (NWSA.O), has started a joint venture with Asian broadcaster Star to create films for India under the name Fox Star Studios.

Foreign investment in Hollywood is nothing new, of course. In the 1990s, German tax credits spurred production of U.S. movies, and before that Japan’s Sony Co (6758.T) in 1989 bought Columbia Pictures. Sony also has a stake in MGM.

David Molner, managing director of Screen Capital International, a media and entertainment financing firm, said that absent foreign investment, Hollywood could simply have to endure a slowdown due to lack of capital.

“Either the Asians lead the pack or we have a lull,” he said. “Mostly because they’re probably going to be the fastest out of the blocks as the economy recovers.”

(Reporting by Alex Dobuzinskis; Editing by Bob Tourtellotte and Tim Dobbyn, Phil Berlowitz)

• The Insider’s Guide to Shooting in China
• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

If you are in China and you are planning on watch Transformers II in the cinema, you will see how popular this film it is in China, I just found this article in Variety.com and it seems this movie’s box office has gone huge all over the world.

Here is the article from Variety(By PAMELA MCCLINTOCK)

Aside from its whopping five-day domestic tally — the second highest of all time — Paramount’s “Transformers: Revenge of the Fallen” broke records in several countries overseas, leading to a massive $387.3 million worldwide through Sunday, one of the best global launches ever.

The five-day opening gross of $201.2 million from 4,234 theaters domestically easily eclipsed the $152.4 million earned by “Spider-Man 2,” which previously held the five-day record for a Wednesday launch. And “Transformers 2″ nearly matched the best five-day gross of all time: $203.8 million for WB’s “The Dark Knight.”

Overseas, the action tentpole opened to an estimated $162 million, the fourth best international opening of all time, after “Pirates of the Caribbean: At World’s End” ($216.3 million), “Harry Potter and the Order of the Phoenix” ($193 million) and “Spider-Man 3″ ($164.9 million). The sequel’s foreign cume was $186.1 million when factoring in the $24.1 million earned the previous weekend in the U.K. and Japan.

Although the Michael Bay-helmed pic sucked up most of the oxygen at the box office, other pics scored notable numbers. Disney-Pixar’s “Up” surpassed Par’s “Star Trek” to become the year’s highest-grossing title at the domestic B.O. (The film’s cume through Sunday was an estimated $250.2 million, boosted by the added charge for 3-D tickets.)

Warner Bros.’ “The Hangover” passed $200 million at the worldwide B.O. Domestically, it saw $17.2 million from 3,525 for a cume of $183.2 million. Abroad, film earned $10.1 million from 1,250 runs in 29 markets for a cume of $46.2 million and worldwide tally of $229.2 million.

Several specialty titles popped, including Summit Entertainment’s “The Hurt Locker.” Directed by Kathryn Bigelow, the film posted a per-screen average of $36,000 as it opened in four theaters in L.A. and New York, grossing an estimated $144,000.

The weekend’s only wide release besides “Revenge of the Fallen” was Cameron Diaz-Abigail Breslin drama “My Sister’s Keeper.” The film saw modest biz in grossing $12 million from 2,606 runs to come in No. 5 for the weekend.

In other holdover action, Fox’s “Night at the Museum: Battle of the Smithsonian” crossed the $200 million mark internationally as it grossed $5.2 million from 4,000 runs in 62 territories for a foreign cume of $202.3 million and worldwide tally of $365.5 million.

Sony continued to see strong international results for “Terminator Salvation,” which grossed $10.1 million for the sesh from 7,470 theaters in 70 markets for a foreign cume of $193.7 million. Accounting for territories where Sony isn’t distributing, pic’s total foreign gross is $219.5 million.

The romantic comedy “The Proposal,” from the Mouse House, continued to click. The Sandra Bullock-Ryan Reynolds starrer dipped 45% to an estimated $18.5 million from 3,058 runs; cume is $69 million. The pic grossed another $7.2 million overseas for the weekend, putting the worldwide cume at $91.7 million in its first 10 days.

On the domestic front, Focus Features’ dramedy “Away We Go” landed in the No. 10 spot in its fourth week, grossing $1.7 million as it expanded into 495 locations for a per-screen average of $3,390 and cume of $3.4 million.

And Woody Allen’s “Whatever Works,” from Sony Pictures Classics, grossed $386,286 in its second frame for a per-screen average of $11,036 and cume of $765,433.

Miramax’s Michelle Pfeiffer period piece “Cheri” grossed $408,000 as it opened on 76 screens for a per-location average of $5,368.

Not having such a good weekend domestically was Sony’s Jack Black-Michael Cera laffer “Year One,” which tumbled 70% in its second frame to $5.8 million for a domestic cume of $32.3 million.

But the big news, of course, is the “Transformers” sequel, the first tentpole since “Dark Knight” to truly rocket into the B.O. stratosphere.

Paramount co-chair Rob Moore said the pic played to a much broader audience than its predecessor, noting that the first time around, males made up 60% of the audience. This time, that number dropped to 54%.

More important to Moore: Despite negative reviews, more than 90% of those polled as they left theaters said the sequel was as good as, or better than, the first.

“To us, that’s the most compelling data point,” Moore said. “The thing that works so much about this franchise is the level of optimism and fun that’s inherent in it. It transports you to a world that stretches reality but is a ton of fun.”

Par execs were particularly pleased, since the studio pegs the pic’s production and worldwide marketing at $350 million — which the film already surpassed in five days.

In terms of just the three-day weekend, “Transformers 2″ grossed $112 million domestically. That, plus the $163 million international opening, makes for a worldwide weekend bow of $274 million, the third best after “Pirates of the Caribbean: At World End” ($356.1 million) and “Spider-Man 3″ ($315.9 million).

The international haul was led by China at $21.9 million — the biggest opening of all time for an English-language movie. While it played strongest in Asia, “Revenge of the Fallen” performed ahead of the first film in almost every market, proving that the franchise has taken hold, Paramount prexy of international distribution Andrew Cripps said.

“Transformers,” which Par and DreamWorks debuted over the Fourth of July holiday in 2007, opened to $70.5 million domestically on its way to cuming $319.2 million in North America and $700 million worldwide.

Imax also participated in the “Transformers 2″ bounty. The pic played on 169 Imax screens domestically. Five-day opening gross at Imax sites was a record $14.4 million.

The “Transformers” franchise was among the projects that reverted to Paramount after its split with DreamWorks, although Steven Spielberg remained an exec producer on the sequel and DreamWorks’ logo appears at the opening of the pic and in ads.

Adam Goodman, who arrived at Par six months ago from DreamWorks, helped guide both “Transformer” pics. Just days before the “Transformers” sequel opened, Paramount chair-CEO Brad Grey announced that Goodman was being upped to Paramount Film Group prexy as production toppers John Lesher and Brad Weston were exiting the studio.

Grey also lauded Bay’s ability to connect with audiences. He said the entire Par family is “proud to be behind him, and we look forward to our collaboration with him in the future.”

“Transformers 3″ is tentatively slotted to open July 1, 2011.

In the meantime, “Revenge of the Fallen” is expected to remain a sizable B.O. force in the coming days, looming over such new fare as 20th Century Fox’s 3-D toon “Ice Age: Dawn of the Dinosaurs,” which opens Wednesday.

Also opening Wednesday is Universal’s Johnny Depp gangster pic “Public Enemies.”

• The Insider’s Guide to Shooting in China
• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

This Post Originally from here.

Yu Nan, one of the jury members for the Asian New Talent Award during the 12th Shanghai International Film Festival, had an exclusive interview with correspondent from Daily News yesterday. As a jury member, Yu Nan expressed her excitement to see so many spirited works, and she hoped these fresh film directors could stick to their own style, not to be distracted by material gain. Besides work, for the first time, Yu Nan replied to questions related to love in her real life and confessed that she was hoping for true love.

Yu Nan has already had some experience of being a jury member on International Film Festival overseas ahead of the 12th Shanghai International Film Festival (continue reading…)

• The Insider’s Guide to Shooting in China
• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

As one of the most anticipated films of the year, WHEAT, directed by He Ping, one of the greatest filmmakers of the time, is confirmed to premiere as the opening film of the 12th Shanghai International Film Festival.

He Ping was the jury chairman for SIFF’s Asian New Talent Award 2006 while the film is produced by Classics Media and PolyBona.

Wheat is the latest production of He Ping, a masterpiece concentrating 6 years of great effort after his Warriors of Heaven and Earth in 2003. The film has been progressing in a low profile ever since the very beginning. However, as the latest work by an extraordinary director among the 5th generation, WHEAT is regarded by the insiders as one of the most expected films of the year after the film’s trailer and poster being released at home and abroad.

With spectacular scenes, rich details, a well-connected story and lyrical visual language, while at the same time revealing a cultural connotation rarely seen in Chinese entertaining films these years, WHEAT was commented by a well-respected filmmakers as “an entertaining film for learned people”.

WHEAT will obviously be the most surprising Chinese film of the year and will change totally the aesthetic experience of the audience.

In addition to the top-class director, a group of top-class actors and actresses including Fan Bingbing, Huang Jue, Wang Xueqi, Wang Zhiwen and Wang Ji join the film. Besides, famous for his discovering and fostering young film talents, He Ping offers Du Jiayi and Wang Jiajia important roles. This makes both the insiders and the audience looking forward to seeing the film.

Actually, from the beginning of the year, SIFF started to discuss with the director and the producer of the film on the possibility of WHEAT’s being the opening film of SIFF 2009. Although the two sides are both excited about the idea, the producer didn’t make a final decision since the real short time for the post-production and director’s willing not to bring down the artistic and industrial criteria. After 6 months’ post-production, WHEAT caught up with the schedule and is now on its way.

“I will try my best to make the perfect integration of art, entertainment and film techniques as always.” said He Ping. For a film with perfect scenes, this remark is the best promise. “He has always been so slow in shooting films. This time he spent 6 years making a film, it must be a most expected one.” a highly expectiation of his fans on the internet.

As is early released, SIFF’s film of this year is unprecedented both in quantity and quality, which is most surprising. Now that WHEAT will open the festival, naturally people will be more looking forward to this grand meeting.

Director He Ping and his staff will hold a press conference in Shanghai on June 12th, after which does it begin the 12th Shanghai International Film Festival.

• The Insider’s Guide to Shooting in China
• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

If you haven’t heard of Spark 2009, you can actually take a look at this Wiki Page

Spark09 was a conference in Shanghai, China that defines its mission as “Igniting new ideas, opportunities and potential in 2009″. It was created due to the negative emotional effect the Global financial crisis of 2008–2009 had on businesses and individuals.

The presentations, each 20 minutes in length, covered the four areas of Humanity, Environment, Business, and Science. Topics included “How can a pig farmer save the world?”, “How can buildings defy gravity?”, and “How does cooking with spice save the panda?”. Speakers were from 51Give, Arup, Bayer, Frog Design, Haworth (company), IDEO, Microsoft, and World Wide Fund for Nature (WWF).

Spark09 was organised by ClarkMorgan which is a corporate training company with headquarters in Shanghai, China. All 19 talks of Spark09 are provided for free viewing online.

This year’s Spark meeting was hold in the tallest building of China : Shanghai World Financial Center

We are glad that we sponsored a meeting like Spark 09, and can’t wait to see the Spark 10.

• The Insider’s Guide to Shooting in China
• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel

Just a quick update for you guys who will come to Shanghai International Film Festival, we will have our booth in Shanghai International Film Festival Market Area, Our film booth number is 221, hope to see you in the Festival.

Our manager Charlie Moretti will join this festival, same time our distribution manager Gregory will show up in the festival, too. Feel free to contact us for the visit! Hope to see you there!

clark@brightshadowfilms.com

• The Insider’s Guide to Shooting in China
• Production Equipment Rental List
• The People of Republic Desire Update-20090925
• People’s Republic of Desire
• What is a Sino-foreign co-production?
• Application materials for a Sino-foreign co-production
• Hong Kong Filmart launches documentary market
• Are you ready for 34th HK Film Festival
• Confucius (Kong ze)
• Showreel