The Chinese film market is notoriously tough for foreign filmmakers to break into, even when they play along with the government’s strict censorship regime:
Regulations permit only 34 foreign studio films to open in Chinese cinemas each year. These must pass various censorship criteria, and banned elements include graphic violence, sex, nudity, time travel, ghosts, and overt or implied criticism of the party. … But Western film-makers considering working with the Chinese will be aware that even by the standards of the film industry, the returns on Chinese co-productions are particularly uncertain. In 2011 the second part of “Harry Potter and the Deathly Hallows” was pulled from Chinese screens to make way for a homage to the history of the Communist Party. More recently Quentin Tarantino approved changes to “Django Unchained”, his bloody revenge fantasy, only to have it pulled from cinemas within days of its Chinese release.
Finding subjects deemed suitable for both Chinese and American audiences has proved tricky. American film-makers have tried inserting Chinese sub-plots and characters into films. “Iron Man 3” had different cuts for America and China, with characters played by Fan Bingbing and Wang Xueqi, two Chinese stars, almost absent from the American version. Similarly, the debauched Chinese-American lead of “21&Over”, a comedy, became a wholesome overseas exchange student in the Chinese cut.
The Dish 