SIFFORUM | Exploring the Global Path of Chinese IP with THREE-BODY

In recent years, Chinese intellectual properties (IPs) like THREE-BODY have played an increasingly significant role in the cultural "going global" initiative. At the SIFFORUM themed "Potential and Imagination of Global Diversified IP Development" held on June 18th, representatives from domestic and international IP film and TV development and operations discussed the practical developments of the THREE-BODY IP. They explored various strategies for presenting "Chinese stories" in global markets and envisioned the endless possibilities of the future "Three-Body Universe".

The forum featured two roundtable talks focused on "Global Film and TV Development Opportunities for Chinese IP" and "Imagination Consumption and Market Operation of IP".

Roundtable One:

Global Film and TV Development Opportunities for Chinese IP

Zhao Jilong

CEO of The Three-Body Universe

In the past, we defined an IP as a cross-generational cultural symbol. Today, in the context of globalization, I believe an IP must also possess the ability to transcend geographical and cultural boundaries. For instance, with THREE-BODY, we have embarked on global explorations in content development, film and TV production, market dissemination, and commercial operations, with the development of film and TV being the most challenging sector.

Unlike physical industries where "Made in China" denotes clear aesthetic and practical values, film and TV works are cultural products based on Chinese culture, making the development into a global IP fraught with difficulties. This represents a challenge for the new generation of cultural and film professionals but also presents opportunities. We have already begun experimenting, with our core task being to distill the essence of the THREE-BODY IP, which involves extracting the consensus and value of the IP.

Cinema remains one of the best vehicles for global expression. Therefore, when we decided to produce a film version of THREE-BODY, our initial intention was clear: led by Chinese creatives, empowered by global production experience, and collaborating with top-tier global production teams to create and distribute a Chinese story on a global scale.

Wang Changtian

Chairman of Enlight Media

The film THREE-BODY is currently under script refinement led by director Zhang Yimou, and we are also in the process of selecting key personnel of the creation team, besides the director and screenwriter, screening candidates globally. Adapting this work presents significant challenges.

We hold great respect for the original work, yet we must also innovate for the cinematic version. First and foremost, we respect the creativity of the director. This is our fifth collaboration with director Zhang Yimou, and I am very familiar with his creativity, learning ability, and leadership. He is the best director we could possibly have for this project. We also fully understand the immense pressure he is currently under. He needs to balance the original work with the film adaptation and also cater to both Chinese and international audiences. However, fundamentally, we are producing a Chinese film, and all creative efforts will be executed within the framework of this Chinese cinema project.

Besides respecting the original work and the director, everything else is open for discussion, such as investment. We have not yet finalized the amount of investment; my approach is not to set a limit or restrict ourselves. We hope this work will become the best film version of THREE-BODY, living up to the long-standing expectations of the fans.

Kurt Rieder

Head Theatrical Distribution for Warner Bros in Asia

I believe the best IPs aren't necessarily related to history or literature. We've noticed that some IPs, which are household names in their countries due to their deep roots in local literature or culture, often struggle to find success internationally. However, sci-fi and fantasy-themed IPs can be developed from scratch and marketed in a cross-cultural manner. Take the globally influential "Harry Potter" series; despite its deeply British roots, it faces no cultural barriers.

The novel "The Three-Body Problem" has been translated into 35 languages, establishing a solid foundation for global literary dissemination, so its adaptation into film is highly anticipated worldwide. Additionally, China's millennia of mythological history also offers substantial IP potential for global distribution.

Xu Zhihao

Co-founder and Chief Creative Officer of CONQUEROR

Speaking of DUNE, we acquired the rights in 2012, but Paramount Pictures Corporation at the time thought this IP was too old, having undergone various developments over the decades, and believed it was challenging to create new market space. We discussed it with nearly all top-tier directors in Hollywood, and no one wanted to take the risk. It wasn't until one year, when director Denis Villeneuve mentioned in an interview that it was his childhood dream to make DUNE—a fact we were previously unaware of. We reached out to him, and it was a perfect match. So, a good IP needs the right creator to find the best way to unlock it, much like THREE-BODY and Zhang Yimou, a serendipitous and beautiful alignment.

Lu Beike

Director

Typically, we don't spend much effort on scientific validation in the early stages of developing sci-fi or fantasy projects, but THREE BODY is an exception where we invested the most time and effort in any project I've worked on. Being a hardcore science fiction work, THREE BODY has a lot of genuine scientific underpinnings. We consulted numerous scientists and visited various research institutions, meeting experts in high-energy physics, astronomy, and shipbuilding, among others, to validate the scientific content involved in the work.

The next consideration is presentation. While today's technology is advanced, the challenge lies in balancing the investment and output. Deciding where to spend more and where to save is the biggest difficulty during the actual filming process.

Feng Wei

Vice President of the Motion Picture Association, Asia Pacific, and President of Greater China

From 2009 to 2018, the disparity between the number of sci-fi films produced in China and the U.S. was significant, with China producing fewer than ten films, approximately five on average, compared to about twenty annually in the U.S. It's encouraging, however, that in recent years, China has seen a surge in sci-fi works like THREE BODY and THE WANDERING EARTH, which have shown some success internationally, like THE MEG, which grossed over $500 million globally. For Chinese cinema to truly globalize, more international collaboration, including comprehensive IP development, is necessary. China doesn't lack compelling stories, but these need to be told in a way that resonates globally, captivating international audiences and thus broadening China's cinematic appeal. THREE BODY is deeply rooted in Chinese culture yet has the potential to impact globally as a major IP.

Roundtable Two:

Imagination Consumption and Market Operation of IP

Wang Ying

General Manager of Commercialization, Tencent Online Video

Tencent Video, as a platform, operates a variety of IPs daily, giving us a unique vantage point to observe different IP audiences and markets. This data is invaluable for developing and operating IPs and even for long-term monetization strategies. However, leveraging data is a double-edged sword in a creative industry, as it is retrospective.

Instead of focusing solely on data analytics, we emphasize an IP’s worldview, character recognition, and value identification. When these are either standard or exceptional, we use storytelling, visual elements, and multi-category development to sustain an IP long-term. It's crucial how we utilize platform capabilities and collaborate with external partners to co-create.

Xiong Junjie

Head of Video Business, PICO

With continuous advancements in virtual reality technology, media presentation is also evolving. VR is transitioning towards Mixed Reality (MR), which can create unique effects like the countdown from THREE BODY appearing in mid-air, aligning perfectly with the narrative. As chip technology advances, both visual effects and interactive experiences in virtual reality will see significant improvements.

We see MR as a new exhibition method and possibly a precursor to future cinemas. Although virtual reality content production remains a high barrier and costly field, we believe upcoming developments in AI technology will drive new momentum in the VR and XR industries, especially as AI gets involved in content storytelling, which we refer to as "agentive narratives", potentially enabling truly personalized content production.

Zhang Shuyu

Deputy General Manager, Shanghai Fengyuzhu Exhibition Co., Ltd.

At the end of last year, we hosted a THREE BODY art exhibition in the eastern suburbs of Chengdu, marking our first deep engagement with this IP. But when we began thinking about how to let people experience the sci-fi beauty of THREE BODY in a popular format, we realized how challenging it was.

We engaged various artists to present their interpretations of THREE BODY, aiming to inspire ordinary visitors, whether they came for leisure, photography, or both. This IP exhibition opened up new ideas for us—using approaches that both children and young people would appreciate to explain complex scientific theories in an engaging way is something we're actively exploring.

Shen Li

General Manager of Hangzhou Huaxing Chuangye Communication Technology Co., Ltd.

This July, we are launching a large-scale XR project in Chengdu in collaboration with The Three-Body Universe. By wearing an MR headset, which includes both AR and VR capabilities, classic scenes like the countdown and a VR set from the THREE BODY game set 20 years ago will be brought to life. Every physical action is mirrored in the digital virtual world to enhance the experience.

In this setup, we've liberated the hands from controllers; the system recognizes gestures through cameras, allowing light interactions. We've also recreated iconic scenes like the Human-Computer from the first novel, where viewers can stand in line within the Human-Computer or ascend next to Emperor Qin Shi Huang to view the grand scene.

Liu Chun

Head of Commercial Derivative Business, Three-Body Universe

When developing derivative products, we create a clear categorization based on the product's role for the consumer. Imagine a pyramid where the base layer consists of products designed to introduce more people to the THREE BODY story. The second layer is defined as "small but certain happiness"—accessible everyday items. The next level up includes must-haves for THREE BODY fans, possibly models or figurines. At the top, we have products that offer greater spiritual value or higher added value to fans.

For each of these levels, we seek partnerships with leading brands both in China and globally. We aim for all our derivative products to be a blend of utility, emotional engagement, IP value, and brand value. This integration highlights our partners' strengths and provides consumers with a unique, additional experience that they cannot find elsewhere.