Scenario: You have been commissioned by a newly formed online streaming company to research, propose and write a script for a feature length production. After seeing the success of Netflix, this new company wishes to follow suit by producing popular, original material for the on demand online market as a viable alternative to the traditional exhibition strategies of the major motion picture industry.
Task 1 - A Research Portfolio
This will be a collection of research materials stored physically or electronically. Accompanying text that clearly demonstrates critical analysis of findings reflecting the ability to carefully assess information found, referring to issues such as bias and reliability while commenting on sources. Research should be accompanied by a suitable bibliography (Harvard referenced). The research should include:
- Concept Research
- Script Research
- Factual Background Information
Task 2 - A Completed Proposal
This will follow the format outlined on the supporting documentation, and demonstrate the ability to construct proposals for specific industry purposes, demonstrating creativity and flair. The proposal should include:
- Synopsis
- Logline
- Screenplay
- Treatment
- Target Audience/USP
Research Portfolio
My initial idea involves expansion into the Chinese film industry and market, not only due to personal interests into their history, culture and people, but also because there is a large market to be had and money to be made. Looking at the highest grossing movies of all time, the majority of the Chinese audience are interested in foreign movies as much as any nationally made film, with movies from the Fast & Furious franchise breaking into the top ten, as well as movies such as Transformers, Zootopia, Warcraft and Avengers: Age of Ultron. [1] What do these films all have in common other than being foreign enterprises? Well for one, they were accompanied by large budgets and were backed by large studios and companies, often media conglomerates such as Disney and Marvel. Given the nature of the company, kickstarting our projects in china may not sound so advantageous, especially when one such company does not have the backing, faith or funds such as these large media conglomerates; however, this is when I flip the script and you all call me crazy.
“So if it is asked: Why should we be concerned with the history of men and events so long ago? I suggest, with appropriate caution, three strands for an answer: The literary style is better; the bloodshed is further away; but the lessons are as enduring as the people of China.“ - Rafe de Crespigny (Australian sinologist and historian), Man from the Margin: Cao Cao and the Three Kingdoms. [2]
Rafe de Crespigny specialises in the history, geography and literature of the Han dynasty of China, and has been acknowledged internationally as a pioneer in the translation and historiography of material concerning the Han dynasty and the Three Kingdoms period. Sinologist is the academic study of China primarily through Chinese language, literature, Chinese culture and history, and this is where the influences come in.
The Three Kingdoms period of China, spanning from approximately 220 AD - 280 AD, was a state of constant warfare and chaos in China that has since been shrouded in myth and legend, often misconstrued and altered in favor of the political zeitgeist of the time periods that would follow. The historicity of the era is one of the most intriguing and epic of any I have ever had the pleasure of learning, and as Dr. Crespigny says in Man from the Margin:
“... I suggest this is one reason why tales of the Three Kingdoms have remained so strongly embedded in the popular culture of China: beside the excitement and imagination of the stories themselves, there is the memory of one brief moment when some individuals could seize their opportunities and break through the barriers of class and clan.”
So you see the period of the Three Kingdoms is still largely popular and revered in modern day China, with the semi-historical novel Romance of the Three Kingdoms being hailed as one of the four great classical Chinese novels. [3] These are the most read, studied and adapted works of pre-modern Chinese fiction. While unfortunately not as accurate as the real history, these stories have endured and become popular, with countless media adaptations made of not just the Romance, but of the Three Kingdoms period in general. [4] In fact, when cinema was introduced to China in 1896 the first Chinese film was The Battle of Dingjunshan, which was based off of the famous battle at Mt. Dingjun, which took place during the tumultuous time period. [5] Since then, movies based off of the Three Kingdoms include The Assassin’s (2012), Diao Chan and Red Cliff, all of which earned publicity, with Red Cliff breaking the box office record of Titanic for grossing $124 million in Asia and mainland China. [6][7][8][9]
The folktales of the Three Kingdoms is so socially ingrained and culturally prevalent in China that any adaptations has a guaranteed audience. And you don’t have to just look at the success of Three Kingdom adaptations either, the Chinese film industry is full of historical films filled with action and drama. A few examples include the following:
- Hero (2002 film) - based on the story of Jing Ke's assassination attempt on the King of Qin in 227 BC, which predates the Three Kingdoms. At the time of release, it was the highest grossing Chinese movie in history, grossing $177.4 million at the box office. [10]
- House of Flying Daggers - set in 859 AD, during the decline of the Tang Dynasty. It was critically well received and grossed $92.9 million. [11]
- A Battle of Wits (2006 film) - set during the Warring States period in 370 BC, it predated the Han Dynasty and the Three Kingdoms that would follow it. Grossed approximately $17,812,601 at the box office. [12]
On top of all of this, you also have to consider the fact that the Romance of the Three Kingdoms has been the subject of numerous other adaptations, including two entirely separate TV series, one being Romance of the Three Kingdoms (1994), which ran for 84 episodes and utilized the People’s Liberation Army as part of cast and crew, and Three Kingdoms (2010), which ran for 95 episodes. [13][14] In addition, Japanese game developers Tecmo Koei’s Dynasty Warriors series, which has spanned since the late 90s and is still ongoing to this day, has also been a constant in the realm of the Romance. The 3rd installment in this game series was responsible for getting me involved in the history of the actual period itself, as well as triggering an early interest in history itself.
So then, I have researched the time period with appropriate evidence of success and backed up my influences, now I believe is time to outline a proper proposal and get into what exactly this adaptation of the Three Kingdoms will be all about. But before that I’d best discuss what form/technique of script writing is suitable.
Due to the nature of this assignment, this script would fall under that of a feature assignment writing, as I have been commissioned by the newly formed online streaming company to research, propose and write a script for this feature length production. Feature assignment writing is the most common assignments sought after in screenwriting. A screenwriter can get an assignment either exclusively or from "open" assignments. A screenwriter can also be approached and offered an assignment. Assignment scripts are generally adaptations of an existing idea or property owned by the hiring company, but can also be original works based on a concept created by the writer or producer.
As for factual background information, this all depends on what you want to base the adaptation of off. Would you go straight for the more reliable sources and historical accurate sources such as:
- The Records of the Three Kingdoms - also known as the “sanguozhi”, compiled by Chen Shuo. These are the most accurate records of the Three Kingdoms, compiled during the reign of Sima Yan (so not very long after the fact). While by far the most reliable source, the “sanguozhi” isn’t perfect and is subject to Chen Shuo’s personal biases in certain areas. And because the “sanguozhi” is based primarily on the government records of Wei, Wu, and Shu, it is only as good as its sources. The records of Shu, in particular, are particularly questionable as they were written by Zhuge Liang himself and therefore are subject to extreme personal bias. [15][16]
- Pei Songzhi - a historian who wrote a commentary on the “sanguozhi”. He provides excellent clarification on many subjects that Chen Shou glosses over or ignores and also makes an effort to provide alternative accounts of events. His comments and additions have greatly improved the accuracy and usefulness of the “sanguozhi”. While not infallible, one should not argue with Pei Songzhi’s analysis without very good reasons. [17]
- Rafe de Crespigny - generally considered the West’s greatest expert on the Three Kingdoms. He has written numerous books and essays about the time period. His work demonstrates no personal bias and has greatly expanded Western understanding of the Three Kingdoms. [18]
Or would you simple opt for the following fictional adaptations or unreliable sources such as:
- Romance of the Three Kingdoms (Sanguo Yanyi) - the historical novel by Luo Guanzhong. So prominent and influential in the history and culture of China, it is often sadly taken as fact, and is considered one of the four great classics of Chinese literature. That is not to blame the author or the novel, as it is a romanticisation after all.
- Numerous Chinese folktales - one ridiculous example involves the often exaggerated Shu-Han general Zhao Yun who, according to one tale, dies from a needle wound inflicted by his wife, after having survived numerous battles unscathed. Obvious fiction that is often taken as fact believe it or not, showing just how far the historicity has been molested (Zhao Yun died of illness in 229 AD). [19]
- Spring and Autumn of Han and Jin (Han Jin Chunqiu) - written by Eastern Jin official Xi Zuochi. If you’ve been reading this and wondering where exactly all the historicity and accuracy of the time period went, look no further. This was the beginning of the fictionalization of the Three Kingdoms. [20][21]
“Despite this romantic tradition, and although some modern scholars have sought to use its material as a guide to the history of the Three Kingdoms, it is important to realise that the novel and the dramas are not independent sources of information. They are frequently and sometimes deliberately mistaken in what they recount, and they are of no more value for the study of the time they purport to describe than are the plays of Shakespeare for the history of England, Scotland or Rome.” - Rafe de Crespigny, To Establish Peace Vol. 1.
I must admit, with dismay, that basing an adaptation of the Three Kingdoms with the latter section of sources is the safest and most sure fire way to make such a product a financial success. However, that does not mean the former sources can be used to create and interesting and riveting Three Kingdoms adaptation, as you will see in my proposal and pitch. Because in my personal opinion, the actual history of the Three Kingdoms is far more interesting than that of the fictionalization.
On the topic of research for my actual movie, the film will be centred around the battle of Chencang, a major siege which took place in 228 AD, between the rival states of Shu-Han and Cao-Wei. The reason I have chosen this battle to depict on screen is due to the stand taken by the brave few Wei troops under General Hao Zhao, against the overwhelming Shu army under the command of Chancellor-Regent Zhuge Liang. The battle would serve as an epic tale to shoot, as it tells of the desperate tale the Wei soldiers faced in their siege, as well as the excellent defense put in place by Hao Zhao before the arrival of reinforcements that came to lift the siege. What makes this all the more spectacular is that the Shu army retreated before the reinforcements arrived, which is often attributed to a shortage of supplies; however, it is unknown exactly why they would retreat. It is most likely the Shu army caught wind of the approaching Wei reinforcements and decided to withdraw. [22]
Complete Proposal
Synopsis: In 228 AD, Chancellor-Regent of Shu-Han, Zhuge Liang, musters a large force for his 2nd Northern campaign. He advances on upon the heavily fortified yet isolated Chencang, defended by approximately 1,000 men under General Hao Zhao of Cao Wei, veteran on the famous Battle of Xiaoyao Ford. Surrounded and isolated, General Hao and his men must face the near impossible task of holding Chencang at all costs until reinforcements arrive.
Logline: Chencang is a Chinese historical-epic concerning the Siege of Chencang fought between December 228 to early 229 by the states of Shu-Han and Cao Wei, the former army led by Chancellor-Regent Zhuge Liang (some 20,000-100,000 soldiers) and the latter by General Hao Zhao (approximately 1,000 men).
Screenplay Structure
Act 1: General Hao Zhao arrives in Chencang and goes about preparing the castle for siege. Meanwhile, the Imperial Court discuss the matter of a potential second invasion by the rival state of Shu-Han. Expecting Chencang to be their target, Emperor Cao Rui sends General Zhang He to reinforce the fortification. Meanwhile in the kingdom of Shu, Chancellor-Regent Zhuge Liang assembles a large army and begins marching north.
Act 2: Chencang is fortified and manned yet only maintains a garrison of 1,000 men. The Shu army arrives and Zhuge Liang attempts to have his enemy surrender, sending Hao Zhao’s friend, Jin Xiang, to convince the general to surrender. He is rebuffed and the siege of Chencang begins.
Act 3: After 20 days of siege, the Shu army is low on supplies and has been unable to make progress. Knowing that Wei reinforcements are on their way, Zhuge Liang orders a withdrawal, abandoning the battle to Hao Zhao, who is praised as a hero to his nation before his untimely death due to illness.
Characters
General of Cao Wei, Hao Zhao - our protagonist; the man tasked by commanding officer Cao Zhen to fortify and defend Chencang in the case of an attack by Shu. A veteran of the Battle of Xiaoyao Ford and Siege of Hefei in 214 and 215 AD, he is a man of steel and isn’t fazed by the battle ahead of him.
General of Cao-Wei, Wang Sheng - second-in-command to Hao Zhao and his right-hand man during the siege of Chencang. Not much is known about the man historically, leaving open the option to expand his role in the siege and relationship with Hao Zhao.
Chancellor-Regent of Shu-Han, Zhuge Liang - our antagonist; the de-facto ruler of Shu, he attempts a 2nd Northern campaign in the form of his siege of Chencang, having failed back in 228 AD with the decisive Battle of Jieting. While historically a brilliant administrator, he was the epitome of an armchair general and prone to cronyism in his ranks.
General of Shu-Han, Wei Yan - a boastful and arrogant individual, yet charismatic and well liked by his men and most of the army. He was, historically, one of Shu’s best generals; however, he would often butt heads with the Chancellor-Regent Zhuge Liang over affairs of the state, and was outcasted by him in favor of placing his own men in positions of power.
Members of Zhuge Liang’s cabet, Jiang Wei, Fei Yi and Yang Yi - Jiang Wei was groomed for command by Liang and serves as his protege. He is young and eager to learn, yet also eager to fight for glory’s sake. Fei Yi served Shu as an ambassador as well as being one of Liang’s most trusted aides. In later life he would rise to his lord’s former position, assuming the running and administration of government. Yang Yi meanwhile served as an army adviser and would quarrel frequently with Wei Yan, often leading Fei Yi having to calm tensions between the two. He was in charge of logistics and supply lines during his lord’s campaigns.
Hao Zhao’s personal friend, Jin Xiang - from the same village as his friend, he is used by Zhuge Liang to try and convince General Hao to surrender to the overwhelming military force that faces him. When first trying to first convince him to surrender, Zhao replied, "You're familiar with the laws of Wei and you know me well as a person. I've received much grace from my State and my house is important. There's nothing you can say (to change my mind). Return to Zhuge (Liang) and tell him to prepare to attack." Upon his second attempt, Zhao replied, "I stand by what I told you earlier. I may recognise you, but my arrow won't."
Emperor of Cao Wei, Cao Rui - the supreme leader and commander of Cao Dynasty, being the 2nd Emperor of his nation. He was perhaps the greatest of the Wei emperors, being both a reformer and progressive in some aspects of his government and regime, even employing women in sections of the government.
Marshall of Jing and Yu Province under Cao-Wei, Sima Yi - a member of the Imperial Secretariat, he served Cao Rui’s father and grandfather before him, both as an adviser and general. He is perhaps one of the most intelligent men of the time and serves as an official at the Imperial Court.
General of Cao-Wei, Zhang He - a great warrior and commander of armies, he is sent by the Imperial court of Wei as reinforcements to Chencang. He predicts that Zhuge Liang will be defeated and retreat before his arrival. His prediction rung true.
General of Cao-Wei, Wang Shuang - sent alongside Zhang He as reinforcements to Chencang. He is eager to prove himself after having been previously disgraced following prior battles, where he was defeated and captured by the rival state of Eastern Wu. He would die in pursuit of the Shu army following their retreat.
Film Treatment
We start off with a flashback of the Battle of Xiayao Ford, in 214 AD, 14 years prior to the events of the movie. In this battle, General of Cao-Wei, Zhang Liao, leads a daring raid along with 700 volunteers against the numerically official Wu army under Lord Sun Quan. Their surprise attack stuns the Wu army and Hao Zhao, one of the many volunteers, witnesses the might and valor of his commanding officer, who makes efforts to cut down as many enemies as possible, as well as save his own men from encirclement. Hao Zhao personally kills Chen Wu, head of Lord Sun Quan’s bodyguard. The Wei soldiers retreat in good form, leaving the Wu forces devastated.
Fast forward to 228 AD, Hao Zhao and an attachment of troops arrive in the fortification of Chencang, under orders of Cao Zhen to restore the castle in case of invasion by the rival state of Shu-Han. He is greeted by the commanding officer, Wang Sheng, who was also sent by Cao Zhen with a few troops to greet Hao Zhao and help in the restoration and defense of Chencang. Wang Sheng submits command to Hao Zhao and becomes his subordinate, making Zhao castellan and commander of the garrison. Wang Sheng explains that because he is far more experienced in warfare, particularly in siege, Hao Zhao should be the one to lead.
Meanwhile, as the Wei soldiers garrison and supplement Chencang, we get a glimpse of the marching Shu army under Zhuge Liang, who is flanked by his crony cabet of Jiang Wei, Fei Yi and Yang Yi. Jiang Wei makes clear that he is looking forward to the upcoming battle, saying that a glorious victory awaits them. Fei Yi, while having high hopes for the campaign, chides Jiang Wei, reminding him of the Battle of Jieting and Shu’s first northern campaign. He says to Jiang Wei that he should practice some restraint and patience, but Zhuge Liang says things will be different this time with him leading the charge. Yang Yi, who is in charge of Shu’s supply lines and convoys, reports to his lord eagerly that they are more ready for campaign; however, General Wei Yan makes his grievances become known. He’s surveyed the army, and while he has faith in the men, he finds the supply lines and the amount inadequate for the march and siege. Yang Yi clearly takes this as an insult to his logistical skills, and rides off ahead. Zhuge Liang brushes Wei Yan off, saying Chencang will be taken with ease.
As the Shu army is continuing their march, we are invited into the Cao-Wei Imperial Court. Emperor Cao Rui is briefed on the situation at Chencang, being informed by his adviser Sima Yi that Cao Zhen has commissioned Hao Zhao to defend the fortification, but only has 1,000 men. Thus, the Emperor orders one of Wei’s finest general's, Zhang He, to march out in aid of the Chencang garrison. Zhang He begins assembling his forces, and states to his subordinates that he has faith in general Hao Zhao to hold out till his arrival, reminding everyone of his valor during the Battle of Xiayao Ford and Siege of Hefei. He goes so far to predict that the Shu army will be long defeated before his arrival. One of his officers, Wang Shuang, makes know that he hopes the Shu army is there for their arrival, so he can prove himself and to everyone he is a fine warrior. Zhang He, while understanding the need to prove himself, reminds Shaung that it was that type of recklessness that got him captured by the Wu army years prior. With that said, they march out to reinforce Chencang.
Back at Chencang, Hao Zhao is being briefed by Wang Sheng about the condition of the castle, being told that while the fortification may hold, it is undermanned as the garrison is not large enough; however, Hao Zhao isn’t too worried since the Shu army can only attack from certain directions, as the castle has natural defenses as well due to the terrain and geographical location. As they are surveying the castle and troops in training, Wang Sheng inquires his commander about their chances, saying to Hao Zhao that he is unusually calm. Zhao predicts rightly that Sheng wishes to ask him about Hefei, and only divulges that not many things have fazed him since. Even if the odds are stacked against him, he will carry on and do his duty, because that is his job as both a warrior and leader. He intends on inspiring his men to hold out at all costs.
The Shu army arrives and encroaches upon the castle, positioning themselves and encircling the fortification as best as possible. Zhuge Liang learns from the locals that General Hao Zhao holds the fort, and is aware of the man’s reputation; regardless, he is without fear and is convinced his overwhelming force can make the enemy surrender without a fight. He happens upon Jin Xiang, a friend of the enemy general from the same village as he was born. He explains that he needs him to convince Hao Zhao to secede Chencang, and if he does so he promises to reward him handsomely, as well as treat the surrendered soldiers well. Thus, Jin Xiang makes his way to parlay.
Hao Zhao greets his friend warmly enough but is distant, knowing full well his intent. Hao Zhao ultimately replies to his friend about his ultimatum, "You're familiar with the laws of Wei and you know me well as a person. I've received much grace from my State and my house is important. There's nothing you can say. Return to Zhuge and tell him to prepare to attack." However, Xiang implores him further only to be rebuffed coldly, "I stand by what I told you earlier. I may recognise you, but my arrow won't." Fearing for his own life and that of his friends, Xiang reports back to Zhuge Liang, who orders his men to prepare for battle.
Zhuge Liang first tries using his superior numbers by sending men to rush the wall with ladders. Hao Zhao let them get the ladders in place, then orders them to be shot with flaming arrows, burning the ladders as well as the soldiers on them. While this is happening, Zhuge sends battering rams forward to destroy the gates. But was ready for simple tactics like that, so has giant rocks up on top of the walls. His men roll these down, crushing the rams.
After this failure, Zhuge decides to bring some better siege weapons to battle. He sends his soldiers to fill the moates and trenches around the fortress so that he could get his weapons into the game. The siege weapons reach the walls and Zhuge’s soldiers climb into the fortress. Inside, they find a second fortress. Hao anticipated Zhuge’s plan, so inside of the fortress, he had built a second one that was just slightly smaller. It couldn’t be seen from outside of the fortress. The soldiers who climbed over the first walls couldn’t get over the second set, so they were massacred by Hao Zhao’s archers.
Following this incident, General Wei Yan airs his grievances. He tells Zhuge Liang that Yang Yi is truly inept as a logistics and supplies officer, saying their army are already running low on about everything. Furthermore, he critiques Zhuge as commander, saying he is not worthy of command, sparking heated debate in the Shu army camp. Wei Yan claims all he needs to do is take a few thousand men through Yizhou Valley onto the city of Chang’An, so he can seize it and the surrounding areas, making way for the Shu army to seize the Wei capital. However, Yang Yi claims him to be far too boastful and ambitious, even insinuating his insubordinate nature will lead him to selling out his allies. Infuriated, Wei Yan draws his sword, causing Yang Yi to weep freely and Fei Yi to get involved in order to ease tension.
In his next tactic, Zhuge tries tunneling. However, he is clearly out of his league as these tunnels collapse in on themselves. He tries to dig the tunnels from his camp into Hao Zhao’s camp, so his soldiers could swarm inside. While great in theory, it doesn’t work in practice. Zhao digs his own tunnels that led into Zhuge’s and they collapsed, killing all of the soldiers inside. This tactical blunder shakes the Shu army’s morale. After this, Zhuge gets desperate and throws his people at the walls yet again, but with supplies running low and morale plummeting, as well as realizing the Wei reinforcements will be arriving soon, he retreats after 20 days of siege.
Zhang He’s prediction proves true, and thus he pursues the Shu army, with Wang Shuang going on ahead and being killed in an ambush. Hao Zhao and his men have outlasted the enemy and he himself is praised as a hero and defender of his nation. The Emperor himself greets him at the capital of Luoyang, who is eager to bestow upon his hero greater deeds; however, Hao Zhao soon falls deathly ill, which devastates the Emperor. On his deathbed, Hao Zhao talks to his son about funeral arrangements, "As a general, I know what a general shouldn't do. I've dug up many graves to obtain wood for making battle equipment, so I know a grand funeral is of no use to the dead. After I die you must dress me in plain clothing. In life, we have a place to live in; in death, where can we go? It's up to you to decide where my grave will be, be it in the north, south, east or west."
Target Audience & Unique Selling Point
For obvious reasons, a large part of the target audience will be Chinese. According to Time, “China's ascent is the economic story of the 21st century, and the entertainment industry is no exception. An average of 22 new screens were unveiled in China in 2015 — each day. That year, the Chinese box office surged by almost 50% over 2014, and Hollywood is counting on an expanding Chinese middle class to make up for vanishing audiences at home. Over the next couple of years, the Chinese box office may well surpass that of North America as the world's biggest, even if last year's China numbers fell — as has box-office revenue in Hollywood — amid a general economic slowdown in the country.” [23] There is a definite market to be made from the growing economy. And before I delve into the demographics, let me explain how film in China works.
American Film Market have a guide on their website on things to know when working on film in China. It is a very eye opening piece, with the following talking about censorship:
“Check yourself. Watch everything that has made it to the screen in China the last 18 months to gauge what is currently resisting the ever-shifting political winds. Even if your film bears a passing resemblance to other films in a popular genre, it is subject to rejection. The early 2016 Marvel hit Deadpool, for instance, was rejected in China for being too violent—this after a string of Marvel films, and films with comparable levels of violence outside the comic-book genre, made a lot of money there.
Work with the censors. Submit your film’s name and plot outline to the State Administration of Press, Publications, Radio, Film, and Television (SAPPRFT), both in Beijing and—if you want the film to air on provincial satellite television—at each provincial-level SAPPRFT office. Listen to their feedback and be prepared to make their suggested cuts. The list of deletions from popular imported films is long, ranging from the seemingly innocuous scenes of laundry hanging out of Shanghai apartment building windows removed from Mission Impossible III, to the evisceration of the crucial sex scenes in Lust, Caution. Sex makes the censors squeamish, especially, as in Brokeback Mountain, when it involves homosexuality. Although beloved as a Chinese director Ang Lee’s film about gay cowboys was banned from China outright.
Know the red flags. Be especially mindful if your film addresses any aspect of Chinese history, especially the modern topics of the Chinese Communist Revolution, the Cultural Revolution, and the famines of 1959-1961, or if it is in some way related to the leaders of the CCP and their families. If your project touches on any of these areas, expect that the CCP history research center and the Party 5 leaders and their living family members will be a part of the censorship process.” [24]
Onto actual demographics in China, Global Times in 2016 reported the following: “The major contributors during the year end-new year period were moviegoers between the age of 21-30, with the 25 and under demographic showing very high enthusiasm for films. Statistics show that 60 percent of those who saw the comedies Surprise and Devil and Angel were born in the 1990s.
In contrast to that, Mojin attracted the oldest audiences by average age, though some had predicted that Mr. Six would bring in more older audiences since its main character was an old retired gangster. Most likely due to the influence of young stars Wu Yifan and Li Yifeng, Mr. Six ended up bringing in a younger demographic - about half its audience belonged to China's post-1990 generation. As for female to male audience ratios, Mojin brought in more males than any of the other above mentioned films.
Taking a look at geographical differences, Beijingers accounted for 14.95 percent of Mr. Six audiences, while Shanghai took second place with 6.94 percent and Guangzhou third with 2.73 percent.” [25]
What we can take away from this is that for release of the movie, you have to keep in mind the geographical locations and availability of screening. What also is telling is the turn out for each of these movies. The major contributors, being the 21-30 year olds, would be a prime target audience. But how do you draw them in? Perhaps a need for young actors, recognizable faces, such as the aforementioned Wu Yifan and Li Yifeng could be casted, in order to draw in a young demographic. However that would be down to production and marketing.
In James Liang’s The Demographics of Innovation: Why Demographics is a Key to the Innovation Race (published November 2017), he explains that in ten years time will be as wealthy and as populous as the United States, economically wise. This could lend well into a potential expansion into movie making within the country, so long as we could capitalize on the target audience and market it towards the appropriate demographic. [26]
As for the unique selling point of the movie, this would be, by far, one of the most accurate adaptations of the Three Kingdoms period to be put to film. This could either make or break the movie; however, cultural appropriation will be held to respectable standards, and you would then not have to worry about controversy over the portrayal of traditional characters.
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