
On October 21, 2025, the “MIRROR 2025 High-end Forum on Cross-Border Integration of Film and Television Culture Industry and RWA” co-sponsored by Mirror.fan and Qianhang Financial Private Board kicked off at the Lumicang New Audio-Visual Industrial Park in Dongcheng District, Beijing.
Bitchain Vision is honored to invite Wang Guowei, general manager of China Film Holdings Co., Ltd. and former vice chairman of the China Film Foundation and CEO of China Film Network, for an exclusive interview.
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The biggest opportunity for the integration of entertainment and RWA lies in the securitization of IP.
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The value of entertainment asset RWA can be evaluated from the dimensions of long-term income, awareness, and income from easily defined anchor assets.
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Big IPs and classic events are most worthy of being “digitized” or “assetized”.
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Those who join the game now are pioneers, and of course many will become martyrs.I hope those who come first don’t smash the pot. If the rice doesn’t taste good, you can make it again. If the pot is smashed, you can only eat the bread.
The specific contents are organized as follows:
1How is the current market acceptance of entertainment RWA?
Entertainment RWA is very well accepted in the British and American markets, especially the interaction between singers and fans has created a very good new relationship and model.In China, there has not yet been in-depth practice, and government supervision has not yet made up its mind to open up this market.
2. Where are the biggest opportunities for the integration of entertainment and RWA?What’s the biggest obstacle?
The core of entertainment is IP, and the securitization of IP is the biggest opportunity. IP holders can use the raised funds and resources to incubate IP, which I believe can provide a great impetus to the entertainment market and industry.
The biggest obstacle is supervision, and the participation of professional intermediaries and service agencies is necessary.This was the case with P2P a few years ago. It was ruined by practitioners. Now the economic development has passed the stage of trying to make mistakes, and the cost of trial and error is very high.
3. From what dimensions do you think the value of cultural entertainment assets RWA should be evaluated?
The first is long-term benefits, which is the long-tail effect, which is necessary, otherwise the market selection and pricing mechanism will be lost; the second is awareness, the topic must be strong, and the sense of public participation must be strong; the third is the easy definition of the income of anchor assets.Of course, the operating team, the status and scarcity of similar assets, etc. are also factors that need to be considered.
4. This forum aims to create a cornerstone for multilateral cooperation and formulate industry standards for China’s entertainment RWA. What evaluation factors do you think should be included in industry standards?
There must be an industry before there are industry standards.It is a good opportunity to establish enterprise standards at present. If the enterprise succeeds, industry standards will be convincing.The definition of industry participants is very important, the establishment of service agencies, and the compliance management of the entire process are even more important.Such as pricing mechanism, issuance mechanism, underwriting mechanism, secondary market transactions, information disclosure, physical delivery and settlement, liquidation and other aspects, this is a huge social practice.
5. Are there any current implementation cases of entertainment RWA?What new ways do you think the entertainment RWA will have in the future?
There are many cases of entertainment RWA being implemented abroad. Singers, bands, documentaries, etc. will issue coins whenever they disagree.The entertainment industry is a group of people who know how to play. There is nothing we can’t do at the moment, and there is nothing we can’t think of. I believe many new ways of playing will emerge one after another.In the future, not only entertainment will be able to RWA, but all industries that reflect the creativity of individuals and teams will be RWA. AI has taken away all blue-collar jobs, so let’s create. Creativity is the fundamental attribute of human beings.
6. What new changes do you think will result in the consumption experience or participation methods of ordinary viewers after the combination of film and television content and “assetization”?
At present, what we see is more of the assetization of IP, and the content has not yet been assetized. When raising funds, it will be accompanied by the integration of wisdom and even the integration of resources from the whole society under WEB3.0, and more exciting products will be released.Obtaining rights and interests will also be rich and colorful. For example, in the future, XR experience centers can be opened for free or at a discount; trendy dolls will be given to you for free; if you just come up with a few ideas, you may become a shareholder and a token holder; the image you draw will become the protagonist of a film and television drama…
7. What do you think are the industry barriers or cognitive barriers that need to be broken through most in the cross-border integration of film, television, entertainment and RWA?
The cultural and entertainment RWA is undoubtedly the most exciting. As long as the corresponding national regulatory mechanisms are in place and the entrance to market access is recommended to start from cultural exchanges in various places, cultural and entertainment will usher in a new spring, and the culture of big countries will surely see new prosperity.
8. In your opinion, what is the biggest change currently facing the film and television culture industry?What role can RWA or Web3 play in this?
Film and television are undergoing fundamental changes globally.Young people don’t go to movie theaters or watch TV. Even when they watch online dramas, the screen is vertical.Overbearing CEOs, wealthy bastards, and other boredoms dominated the screen, and various short videos soared the acting skills of the people.On the other hand, XR (VR\NR\AR) experience can satisfy the audience’s pursuit of audio-visual stimulation.Are you waiting for a new technological breakthrough?Or is the film and television industry evolving into a product of the cultural tourism industry, returning to its proper place?It’s still unknown.
9. What kind of parts do you think are most worthy of being “digitized” or “assetized” in film, television and cultural content?
With big IP, only the works that are familiar to the most people are likely to become successful cases of RWA.In addition, there are classic events, such as the Temple of Heaven, the Forbidden City, and Kailash (meaning “Snow Mountain Treasure”, located in Purang County, Ngari Prefecture, Tibet, and the main peak of the Gangdise Mountains), etc. These can achieve long-term profits, and their solid status has established enduring cultural value.
10. What advice do you have for latecomers who want to join the game?
Those who join the game now are pioneers, and of course many will become martyrs.However, the inclusiveness of society is trustworthy. If you try boldly and practice bravely, the only hope is that the first person will not smash the pot. If the rice is not delicious, you can make it again. If the pot is smashed, you can only eat bread.