From Flower Vase to Film Emperor in Hollywood

Without having written a script, as an audience member, it's easy to criticize and offer unsolicited advice, wondering why the screenwriter doesn't understand even the most basic things.

But upon genuine reflection, figuring out how to set up plots, depict characters, and create intersections and collisions that spark chemistry between the story and the roles within a ninety-minute movie is indeed a difficult problem.

In "Pretty Woman," because the entire movie's focus is completely concentrated on the two main characters, with family and friendship completely abandoned, the screenwriter has enough space to flesh out the two characters and their love story, ultimately shaping two classic screen images.

However, "The Princess Diaries" is different. Mia is the absolute core, family is the main line, and love and friendship must serve the fullness of the character. The narrative space is filled with different sub-plots, and the character's edges and emotional context appear simple and rushed, lacking sufficient space for extension.

So, a question:

When did Mia fall in love with Michael?

The movie doesn't say at all.

Michael, from the moment he appears, is already set as secretly in love with Mia, established without needing plot groundwork; but the emotional connection between Mia and Michael is almost non-existent, with only one plot point laying the groundwork —

After Mia's true identity is exposed, she gains the favor of her crush, her mood soaring, her head heating up, rushing forward recklessly, to the point of completely forgetting her good friend Lily and Lily's brother, Michael.

Mia not only breaks her promise to Lily's campus radio show but also breaks her promise to Michael's band performance, single-mindedly thinking about her date with her crush, Josh, without realizing that Josh simply wants to use her to hype up news, having notified paparazzi and media to come and take sneaky photos early on.

Disheartened, Mia finally realizes that she has hurt Lily and Michael.

And then?

Then, Mia apologizes to Michael, Michael attends Mia's sixteenth birthday ceremony, becomes Mia's dance partner, and walks towards the ending.

Audience: ?

Wait, isn't something missing in this process?

Either Mia already liked Michael before agreeing to go to Michael's band performance?

Or Mia suddenly fell in love with Michael after being tricked by Josh?

The former has absolutely no detailed groundwork in the movie; the latter is more like gratitude or guilt than love. Regardless of the situation, such a happy fairytale ending seems rushed and unconvincing, more like forcing a perfect grand finale for the sake of a perfect grand finale.

It's like chicken soup with a lot of MSG added. It tastes delicious when you drink it, but you start to feel thirsty after drinking too much, and there's no lingering flavor.

A taste of industry.

So, what should Anson do?

Convince the screenwriter to change the script?

Not to mention that Anson doesn't have that power now, even Darren Star would probably find it difficult; even if Anson could, he doesn't think it's a good idea.

The core main line of "The Princess Diaries" is Mia's transformation and growth from a high school student to a princess. If Anson forcibly increases his role for his own sake, it may make the movie bloated, affect the quality of the finished product, and ultimately lead to the movie's failure. Then increasing his role would still be in vain.

Anson has other ideas.

"The Avengers" also has something worth referring to, which is how to increase the charm of a character in a limited space. Even without dedicated plot groundwork, language, actions, and details can still enrich the character's image.

Therefore, without increasing the plot of the script, Anson is prepared to start with the existing script, starting with each appearance of Michael and each scene between Michael and Mia, to increase the character's influence.

Let the audience — more importantly, let Mia feel Michael's charm, not only secret love but also silent watching and guarding.

At the same time, use enough details to make the emotional shift convincing. Mia doesn't give Michael a chance because of guilt or gratitude, but truly feels the silent emotional support and soul resonance. Before she realizes it, Mia already likes him.

This is the "inner essence."

Anson needs to make the camera feel these emotions, subtly complete the groundwork, and make Mia's final change to Michael logical.

Difficult?

It is indeed difficult. After all, this is a brand new challenge for Anson. Perhaps, some acting skills are needed.

Really difficult?

Actually, not necessarily, because it doesn't need layers or depth.

First, the emotional context is consistent. Like, Anson only needs to express the emotion of liking, without any other complicated things.

Second, exuding charm, although slightly different from Paul in "Friends," the essence is the same, which is to show attractiveness. Anson has some experience in this.

Third, first love is often the moment of heartbeat, possibly liking someone because of a trivial little thing, without needing to be too complicated.

In other words, although the space is limited, in Anson's view, it is already enough.

A vase is still a vase, but a truly professional vase knows how to grasp the character's setting and show its advantages; and those excellent vases can break the shackles and become classics, such as Marilyn Monroe in "The Seven Year Itch," the scene of standing at the vent and pressing down her skirt becoming an eternal classic.

They are both vases, but the charm displayed on the big screen is completely different.

A little bit of research, a little bit of preparation, a little bit of thinking.

Thus.

A little bit of excitement.

Anson is also looking forward to his first big screen journey in two lives.

"The Princess Diaries" is starting up.

After a short three-day preliminary preparation, all aspects are ready —

Julie Andrews has not yet arrived at the crew temporarily, but the entire crew up and down already knows the news that this superstar has officially joined the movie.

Unsurprisingly, she should join the crew two weeks after the movie starts. Her scenes will only start from that time, but it is already making people restless. The entire crew is filled with a cheerful atmosphere, and everyone is eager to join the superstar as soon as possible and work together.

The first day.

For the first scene of the start-up, Garry Marshall continued Hollywood's consistent tradition, often arranging simple and relaxed scenes at the very beginning, hoping for smooth shooting and a good omen, to start a good start for the subsequent shooting.

In fact, it is true. The shooting has no difficulty, and everything is in order. Although there is a large group of newcomers who are appearing in movies for the first time in the cast, the crew is made up of industry veterans who have worked with Garry for many years.

Smooth sailing.

The second day. The third day. The fourth day.

The shooting is still smooth. It can be seen that the sixty-year-old Garry still maintains vigorous creative vitality and is full of expectations for this movie. He is not only focused but also proactive when working on the set.

Until the fifth day, finally!

Anson is about to shoot his first scene.

The third update.