Guo Ying Holdings' Wang Guowei: Major IPs and classic events are the most worthy of being "monetized".

On October 21, 2025, the “MIRROR 2025 Film and Television Cultural Industry and RWA Cross-Border Integration High-End Forum” co-hosted by Mirror.fan and the Qianhang Finance Private Directors' Meeting kicked off at the Lumei Warehouse New Audiovisual Industry Park in Dongcheng District, Beijing.

Golden Finance is honored to invite Wang Guowei, General Manager of China Ying Holdings Co., Ltd., former Vice Chairman of the China Film Foundation and CEO of China Film Network, for an exclusive interview.

• The biggest opportunity for the integration of entertainment and RWA lies in the securitization of IP.
• The value of entertainment assets RWA can be assessed from dimensions such as long-term returns, recognition, and ease of defining income from anchored assets.
• Major IPs and classic events are the most worthy of being “digitalized” or “assetized”.
• Those who enter now are pioneers, and of course many will become martyrs. I hope those who come first don’t break the pot; if the food isn’t good, it can be remade, but if the pot is broken, you can only nibble on bread.

The specific content is organized as follows:

1. What is the current market acceptance of entertainment RWA?

The acceptance of entertainment RWA in the UK and US markets is very high, especially the interaction between singers and fans has created a very good new relationship and model. In China, there has not been in-depth practice, and the government's regulation has not yet made a firm decision to open this market.

2. Where are the greatest opportunities for the integration of entertainment and RWA? What are the biggest obstacles?

The core of the cultural and entertainment industry is IP, and the securitization of IP represents the biggest opportunity. IP holders can use the funds and resources raised for the incubation of IP, which is believed to provide tremendous momentum to the cultural and entertainment market and industry.

The biggest obstacle is regulation, and the participation of professional intermediaries and service organizations is necessary. A few years ago, P2P was just like this, it was ruined by industry practitioners. Now the economic development has passed the stage of feeling the stones to cross the river, and the cost of trial and error is very high.

3. From which dimensions do you think the value of entertainment assets RWA should be evaluated?

First is the long-term yield, which is the long-tail effect; this is necessary, otherwise, the mechanisms for market selection and pricing will be lost. Second is the level of awareness; the topic must be strong, and there needs to be a strong sense of public participation. Third, it should be easy to define the income of the anchor asset. Of course, factors such as the operational team's status and the scarcity of similar assets also need to be considered.

4. The purpose of this forum is to establish the foundation for multilateral cooperation and to formulate industry standards for China's cultural and entertainment RWA. What evaluation elements do you think should be included in the industry standards?

First, there must be an industry before there can be industry standards. Currently, establishing corporate standards is a great opportunity; if a company succeeds, the industry standards will have credibility. Defining the participants in the industry is crucial, and establishing service institutions, as well as managing compliance throughout the entire process, is even more important. For example, aspects such as pricing mechanisms, issuance mechanisms, underwriting mechanisms, trading in the secondary market, information disclosure, physical delivery and settlement, liquidation, and so on, constitute a massive social practice.

5. Are there any existing cases of entertainment RWA? What new ways do you think entertainment RWA will have in the future?

There are many overseas landing cases of entertainment RWA, including singers, bands, documentaries, etc., and they issue tokens whenever they feel like it. The entertainment industry consists of the most playful people; it's just that they cannot do everything at the moment, but they can think of anything. I believe many new ways of playing will emerge continuously. In the future, not only will the entertainment industry be able to RWA, but all industries that reflect individual and team creativity will also be able to RWA. As AI takes away blue-collar jobs, we will create instead; creativity is the fundamental attribute of humanity.

6. What new changes do you think will occur in the consumption experience or participation methods of ordinary viewers after the combination of film and television content with “assetization”?

Currently, what we see more is the assetization of IP, while the content has not yet been assetized. The process of fundraising is accompanied by collective intelligence, and even the integration of resources across society under WEB3.0 will lead to more exciting products being launched. The acquisition of rights will also be diverse; for example, in the future, XR experience centers may open for free or at a discount; trendy dolls may be given away for free; you just need to come up with a few ideas, and you might become a shareholder, a token holder; the image you draw could become the protagonist of a film or television series…

7. What do you think are the industry barriers or cognitive barriers that need to be overcome for the cross-border integration of film and television entertainment with RWA?

The RWA in the cultural and entertainment sector is undoubtedly the most exciting. As long as the corresponding regulatory mechanisms of the country are in place, it is recommended to start market access from cultural exchange centers across various regions. The cultural and entertainment industry will usher in a new spring, and a new prosperity for the culture of major countries is bound to emerge.

8. What do you think is the biggest change currently faced by the film and television cultural industry? What role can RWA or Web3 play in it?

The film and television industry is undergoing essential changes globally. Young people are not going to cinemas or watching television; even when watching web dramas, they prefer vertical screens. Boring tropes like domineering CEOs and illegitimate sons dominate the screen, while various short videos have skyrocketed the acting skills of the public. On the other hand, the experience of XR (VR\NR\AR) can satisfy the audience's pursuit of sensory stimulation. Are we 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 rightful place? It remains to be seen.

9. What aspects do you think are most worth being “digitized” or “assetized” in film and cultural content?

Big IPs, only the most well-known works among the public are likely to become successful cases of RWA. Additionally, classic events, such as the Temple of Heaven, the Forbidden City, and Mount Kailash (known as the “Snow Mountain Treasure,” located in the Purang County of the Ali region in Tibet, it is the main peak of the Gangdise Mountains; “Kailash” is also a drama film written and directed by Zhang Yang, released in June 2017), can achieve long-term returns, and their solid positions have established enduring cultural values.

10. What advice do you have for latecomers who want to get involved?

Those who enter the game now are pioneers, and of course, many will also become martyrs. However, the inclusiveness of society is trustworthy; dare to try and bravely practice. The only hope is that those who come first do not mess things up. If the meal is not good, it can be redone, but if the pot is smashed, we can only gnaw on bread.