Just as Ah Bin was about to say something to his buddies, he heard the crowd calling out "Brother Cheng Long! Brother Cheng Long!"

Upon hearing this, the two quickly stubbed out their cigarettes and admired the demeanor of their elder brother, Cheng.

As expected, on the red carpet, Big Brother Cheng, dressed in a leather jacket, wearing sunglasses, with long hair and a prominent nose, smiled and waved to everyone, exuding superstar charisma.

The fans began to surge wildly, and the eldest brother shook hands with them warmly. The security guards on both sides of the red carpet struggled to maintain their positions, as if they were about to be swept away at any moment.

It took two minutes for the red carpet to appear.

The eldest brother left his signature on the backdrop and took a few more photos.

Heading towards the sinking side.

Cheng Long opened his arms and hugged Shen Fang: "Brother, you're awesome!!!"

Shen Fang hugged his older brother Cheng tightly.

Cheng Long hugged Zhang Yimou again.

"Director Zhang, you're amazing! You made such a great film, I admire you so much. When can we collaborate again?" Jackie Chan said, giving a thumbs up.

Zhang Yimou smiled and said, "Let's try it out. We must cooperate next time."

Jackie Chan nodded. He did want to collaborate with Zhang Yimou, but his desire wasn't strong because their styles clashed. Jackie Chan excelled at kung fu comedies and action films, while Zhang Yimou's films focused on artistic conception, spirit, and meaning. It wasn't that Jackie Chan's style was completely unrelated to Zhang Yimou's, but rather that they were fundamentally incompatible. Jackie Chan was still a very popular superstar in Hollywood, and although Zhang Yimou was now incredibly successful, he wasn't the best choice. Whether they collaborated or not was fine with him.

His main task this time was to represent Emperor Media to sign the CPEM agreement. Not only him, but also Albert Yeung, Charles Heung, the Hong Kong Film Association, Chow Yun-fat, Stephen Chow, Wong Jing and others were present.

Hero is more than just a simple commercially successful film; it showed the domestic film industry a new way of doing things. It's the logic of making blockbusters: big directors, big investments, grand scenes, big stars, and a master-level crew behind the scenes. That's how you make big money.

Heroes propelled Chinese cinema toward commercialization, and Dragon Media transformed the film distribution and profit models, prompting media companies to emphasize the importance of marketing.

At the same time, this has made the mainland Chinese film market, along with countries and regions such as South Korea and Japan, one of the few film markets in the world that has not been eroded by Hollywood movies.

Shen Fang put his arm around Cheng Long's shoulder: "Brother, Hong Kong filmmakers can get the same treatment as domestic films when they co-produce with the mainland. Whether it's the number of films produced or the revenue sharing, it will be the same from now on. As long as it's a co-production, we can all make money together. You've seen the power of the domestic market. 490 million, even if we discount it by half, we can still get 200 million domestically. If we do a small amount of work abroad, the money will just come in. The spring of the film and television industry has arrived. We must work together to make more good works and make big money."

Cheng Long nodded: "That's what I'm thinking too. I want to make more movies while I still have some energy and leave behind more good works so that I won't have any regrets when I get old and can't do them anymore. I'm also planning to shift my career focus to the mainland. I hope you can help me out a lot."

Shen Fang smiled and said, "No problem, let's go in with you, Brother Long. I'll introduce you to the artists and managers of our company. If you need people for your future projects, you can contact them."

Cheng Long chuckled: "Brother, you're trying to get opportunities for your company's artists, do you really need all this?"

Shen Fang smiled and said, "Give them more opportunities."

Cheng Long nodded: "No problem."

"Senior brother, I'm in now. Sister Lifang, you stay here with me to greet the guests."

Zhang Yimou and Zhong Lifang nodded.

Shen Fang and Cheng Long walked into the venue arm in arm.

They talked about the details of CPEM, mainly the preferential treatment and policies given by the government, as well as the reliable mainland staff. After all, the co-production sites will need manpower from both places. This time, Shen Fang specifically explained it very clearly to Director Liu and Han Sanping.

Co-productions can't be a sham. Just because it features one mainland actress doesn't mean it's a co-production. Are you using a top mainland actress as a decorative figure to serve as a stepping stone for Hong Kong artists and make them look superior? And then the Hong Kong people get all the preferential policies? Is that acceptable?

Since we're going to do this, we need to have a proper set of rules. Both sides need to send representatives for the director, production assistant, prop master, and martial arts choreographer. Mainland actors can't just be minor, decorative figures; they must be among the main characters. One of the male or female leads is required to benefit from the policy...

The CPME project ushered in an era of co-productions between Hong Kong and mainland China. The following year, the Chinese Brothers collaborated with Stephen Chow on "Kung Fu Hustle," which grossed 160 million yuan, surpassing even Zhang Yimou's "House of Flying Daggers" and Feng Xiaogang's "A World Without Thieves." This box office success led more Hong Kong directors to move north to mainland China.

At that time, the Hong Kong film market was in decline, and Hong Kong directors such as Peter Chan, Tsui Hark, Wong Jing, John Woo, Yip Wai-man, Andrew Lau, and Dante Lam seized the opportunity to come to the mainland. They not only revitalized the mainland film market and allowed a group of Hong Kong filmmakers to start working, but also brought the mature industrialized production methods of Hong Kong films to the mainland.

This is a good plan that can make the mainland film industry more mature, make the market more active, and allow both regions to develop.