“Fengshen” Made in Nine Years: Wu Ershan’s Ambition and Patience
In a recent interview, director Guo Fan compared his film “The Wandering Earth” to a small workshop product when he visited the set of the “Fengshen Trilogy.” This statement raised eyebrows, considering the success and international recognition of “The Wandering Earth.” But upon closer inspection, it becomes clear that Guo Fan was referring to the industrial process system, not the scale of production.
The “Fengshen Trilogy” is director Wu Ershan’s latest project, with the first film released on July 20. This series has been eagerly anticipated in the Chinese film industry, with its preparation starting nine years ago. The project is a massive undertaking, one that has never been seen before in Chinese cinema.
The studio for the “Fengshen Trilogy” is located in Qingdao, covering 500 acres and employing over 2,800 people at its peak. To accommodate the crew’s dining needs, a massive canteen was built, capable of serving 2,000 fresh meals instead of boxed lunches. The scale of the studio and infrastructure is truly astonishing.
However, when Guo Fan talks about small workshops, he is referring to the entire industrial process system. What impressed him the most was the crew’s ability to commute to and from work on time. This punctuality and efficiency resonate with the rhythm of Hollywood productions, a standard that has been partially realized on the set of “Fengshen Trilogy.”
The quietness observed on set also left an impression on those who visited the filming crew. Director Wu Ershan attributes this to extensive preparation in the early stages. The actors, action group, wire, and photography departments rehearsed for hours, sometimes even months, before shooting a scene. This level of discipline and organization is a testament to Wu Ershan’s patience and dedication to the project.
During the long nine years of filming, the release of two “Wandering Earth” films has elevated the industrialization level of Chinese science fiction. Director Wu Ershan’s “Fengshen Trilogy” aims to push this industrialization even further. For Wu, industrialization encompasses three dimensions: creation, production management, and visual effects.
Writing the script for “Fengshen Trilogy” took nearly five years. The challenge was finding a balance between ancient Greek narrative traditions and modern audience expectations. This storytelling conflict had to be delicately handled to create a cinematic, yet culturally relevant, experience.
To ensure the film captures Chinese aesthetic characteristics, the main creators searched for the best visual effects companies worldwide. Collaboration with eight companies from the United States, Canada, France, Australia, India, and China was instrumental in achieving this balance. The involvement of renowned visual effects director Douglas Hans Smith, known for his work on “Star Wars” and “Independence Day,” further elevated the production’s visual quality.
Each visual effects company focused on its area of expertise. From ancient architecture to water-related scenes and war sequences, the crew carefully selected each company to preserve Chinese aesthetics throughout the film. This attention to detail and commitment to cultural authenticity reflects the level of thought and effort that went into the project.
With over 8,000 people involved in the filming stage, “Fengshen Trilogy” became a year-and-a-half-long, super-complicated project. Wu Ershan cites the seamless cooperation between departments and the ability to work long hours as significant advancements in Chinese film industrialization.
Every aspect of “Fengshen Trilogy” progressed with patience and stability. From the time-consuming process of casting young actors to the meticulous location scouting across 20 provinces in China, no detail was overlooked. The crew’s commitment to authenticity is evident in the film’s references to real locations, such as the Hukou Waterfall and the Altai Mountains.
Director Wu Ershan’s ambition and patience are apparent in the nine-year journey of “Fengshen Trilogy.” As the first film hits theaters, audiences can experience the result of this massive undertaking that pushes the boundaries of Chinese cinema’s industrialization.