From Flower Vase to Film Emperor in Hollywood

“Supernova Gets Into Trouble, Arrogantly Attacks a Passerby?”

The latest issue of “Entertainment Weekly” unbelievably uses a brand-new face as its cover: Anson Wood.

But obviously, the negative news— once again proves the unchanging law of Hollywood, fame brings trouble.

On the cover, Anson, with his sleeves rolled up, is roaring ferociously at a driver with a face full of anger, while the driver is pitifully huddled into a ball, frantically rolling up the car window, seemingly feeling a threat to his life.

It must be said that the angle and framing of this photo are very artistic, with a similar effect to a wildlife adventure in the African savanna:

Anson is the lion, and the driver is the tourist.

See, who is civilized and who is a primitive animal is clear at a glance. The implication is that the driver was just passing by when he was suddenly and violently attacked by an irrational and unthinking animal. The stance is evident, more vivid than words. A single photo has already allowed every reader to form a preconceived impression, and then a little guidance from the language will achieve the desired effect.

This is the power of media opinion.

In the past few months, first “The Princess Diaries,” then Paris Fashion Week, and then “Fashion,” a series of positive exposures have allowed Anson to strongly enter the public eye, with a comprehensive increase in recognition and influence. The “Entertainment Weekly” exposé easily gathered attention.

Exceptionally lively.

However, the person involved in the incident seemed particularly relaxed.

A pair of sunglasses, a luggage bag, and light steps as he pushed open the door, leaving the icy and snowy East Coast, and plunged into the golden sunshine of California. His whole body relaxed. Even though he was still busy, he had a sense of lightheartedness like being on vacation, and all the disturbances had been left behind.

The New York part of “Cat and Mouse Game” was completely filmed, and the crew moved to Los Angeles. There was no rest time, only half a day to adjust, and then filming would continue in the afternoon.

Anson came home just to put down his luggage, take a short rest and relax for two hours, and then he had to go to the crew to meet up.

As soon as he pushed open the door, Anson saw Chris Evans and Brad Renfro standing in the living room with worried faces, the atmosphere was slightly solemn.

“Hey.” Anson was a little surprised, “What are you both doing here? Practicing lines?”

In the past year, the actors under the same roof have become more and more busy, and the days of gathering together to drink and chat idly have become less and less.

However, this is a good thing.

Chris’s words, which were halfway through, were interrupted, and he couldn’t help but stall, looking at Anson without reacting.

Anson raised his hand to signal, “You guys continue.”

After speaking, he was about to go upstairs, but was interrupted by Chris, “Why did you just come back like this?”

Anson: Why can’t I come back like this?

Brad helplessly glanced at Chris, who didn’t have any context in his words, “He means, ‘Entertainment Weekly’s’ report, are you okay with it?”

Chris nodded repeatedly, “Those media are talking nonsense again.”

Anson couldn’t help but chuckle, “Didn’t you see the photos? The evidence is irrefutable.”

Chris spread his hands, “Please, Anson, that’s not you. Anyone who knows you even a little should know that you are not the type to provoke others or bully the weak.”

Brad curled his lips and joked with a calm face, “With your cotton fist, there’s no threat at all.”

Without asking or investigating, they unconditionally trusted Anson and stood on Anson’s side without hesitation.

Anson felt a warmth in his heart, “That was a road rage driver, I just reached out to help an old lady. Don’t worry, nothing serious.”

In a few words, he glossed over it in the simplest way, as if he was just yawning.

Let’s rewind time a bit.

In fact, during Anson’s filming of “Cat and Mouse Game” in New York, paparazzi had been following him sporadically, exposing Anson and Steven’s first collaboration.

However, at this stage, the value of these behind-the-scenes photos from the set is limited. What the paparazzi really hope to capture is Anson, Steven, and Tom in the same frame. However, Tom has not appeared, so the photos taken by the paparazzi have not been released, and no magazine is willing to buy those photos.

Then, the paparazzi photographed that scene.

The value is very limited.

The point that Anson was most curious about was, didn’t the paparazzi photograph him beating that strong man?

If so, Anson hoped to see those photos. He always cared about the safety of that boy and his mother. He always hoped to be able to confirm their safety. The street where the incident occurred was relatively remote, without surveillance footage, so Anson was never able to find them. The boy seemed to have disappeared like that.

Moreover, compared to the conflict with the driver, the photos of Anson beating the strong man would be much more explosive, that was real, punch-to-the-flesh action.

Strangely, no paparazzi photographed it.

It is estimated that Anson’s sprinting speed was too fast, so the paparazzi didn’t keep up and missed the real excitement, only capturing the scene behind.

Unfortunately, the news value was greatly reduced.

So, the paparazzi thought about maximizing profits and threw the cropped photos to Edgar and Steven respectively, expressing their willingness to give the crew a favor—

The implication is to curry favor; or exchange for other photos/news. As long as the paparazzi get more valuable material, these photos don’t matter.

Extortion?

There is no need to say it so harshly, this is called cooperation for mutual benefit.

Unexpectedly, Edgar acted vigorously and took a two-pronged approach.

On the one hand, Edgar directly contacted Steven to discuss a solution.

On the other hand, Edgar collected information and pieced together the whole picture of the matter.

Naturally, Edgar contacted Anson as soon as possible. After understanding the ins and outs, he not only contacted the staff present as soon as possible; but also contacted the old lady as soon as possible.

Edgar didn’t give up. He contacted Eve and asked Eve to find the traffic recording of the main street through the NYPD (New York Police Department), not only obtaining the video of the ins and outs of the matter, but also contacting the drivers who were stuck in the back few cars due to the traffic jam at the time. With complete evidence and witnesses, he firmly grasped the truth.

Then.

Overnight, Edgar and Steven completed communication and reached a consensus. They both believed that it is better to dredge than to block—

Such things often happen once and then again, especially since Anson is now in a period of comprehensive rise. In the future, similar things are estimated to only increase and become more intense.

Instead of treating negative news as a scourge, it is better to turn passivity into initiative, actively choosing this so-called negative news with "not so serious nature" as a breakthrough to show the iron fist of Anson’s public relations team and send a signal to the paparazzi that Anson is definitely not an easy target.

At the same time, this opportunity is also used to launch the first wave of publicity for “Cat and Mouse Game.”

Edgar and Steven hit it off, and then Edgar and Eve launched an in-depth discussion and formulated a detailed plan before releasing the bomb.

They ignored the paparazzi and directly left the paparazzi there.

The paparazzi waited left and right without waiting for an answer, and directly contacted Anson again, but the result was nothing again, which made him couldn’t help but start to doubt life:

Did I send the wrong phone number?

After repeatedly confirming that he had not sent the wrong message, the paparazzi finally realized that he had been ignored.