From Flower Vase to Film Emperor in Hollywood

Applause, like thunder.

The entire filming set, inside and out, buzzed with excitement, the atmosphere filled with joy.

Aaron and Logan, the two little ones, abruptly turned their heads, paused for a moment, then took off running towards the set.

Seeing this, the other child actors, bewildered, unwilling to be outdone, followed suit, creating a magnificent scene.

A truly spectacular sight.

Aaron, leading the charge, squeezed his way in, constantly craning his neck and asking:

"What, what, what happened?"

"Was it amazing?"

"Did everything go smoothly?"

The chattering questions transformed into cheers after finally receiving affirmative answers.

"Ha!"

Aaron raised both hands high.

"I knew it, oh yeah!"

Logan and the other children arrived one after another, grabbing Aaron's right hand, curiously asking questions.

Aaron turned around, wearing a mysterious expression.

"Anson's performance conquered everyone!"

"Hooray!"

In an instant, the children also cheered, one or two perhaps not even understanding what had happened, raising their hands high and jumping up and down.

The scene was incredibly lively.

"Butterfly Effect", officially started filming—

Before the start of filming, the crew was always filled with a sense of uncertainty and anxiety.

Mackie and Eric were novice directors, and Anson was a novice producer; to make matters worse, the cast was entirely composed of newcomers, with Anson himself being the most experienced actor, which meant that everything would revolve around Anson.

Was this really okay?

After all, up until now, Anson had only been an idol star, obediently completing his role as a pretty face on set, without showing any intelligence or artistic talent.

Now, with his career just taking off, he was eager to follow in the footsteps of Tom Cruise and Brad Pitt; wasn't this a bit too hasty?

Wouldn't he be taking too big of a step?

However, despite the worries, the crew members still stuck to their duties—

Anyway, this kind of situation was common in Hollywood, so there were enough failed projects to fill the San Fernando Valley; there was no need to make a fuss.

While focusing on their work, a slight tension, hesitation, and unease surged amidst the anxiety, causing the entire crew to be slightly tense and even more cautious.

To make matters worse, the two inexperienced directors declared that they were not superstitious, and despite opposition and protests, they chose a difficult scene to start filming, which made the atmosphere in the crew even more uncertain.

However.

What about now?

A surprise, an incredible surprise, completely subverting expectations.

How, how was this possible?

This was actually happening, not only completing the filming smoothly, but the intense chemistry was almost bursting out of the monitor screen.

A successful start, a truly meaningful successful start!

Who knew, maybe the quality of the finished film could really create a surprise?

After all… the male lead was Anson!

Inside and outside the crew, the gloom was swept away, and everyone was cheering.

Even Anson and Rachel, who were still indoors and couldn't see the outside scene, could clearly feel this jubilation, and their moods soared.

Rachel's gaze couldn't help but drift towards Anson again, joy surging in her eyes, and she called out:

"Anson…"

Anson turned his head, his smile clear and bright, his eyes filled with starlight.

Rachel's heart skipped a beat.

But before Rachel could speak, another call came from behind.

"Hey, buddy, great work, awesome!"

It was Heath.

Heath walked over generously, extending his right hand early, shaking Anson's right hand and pulling him in for a shoulder bump.

His left hand, like a fan, heavily patted Anson's back, not concealing the smile on his face.

Anson, however, was full of question marks.

"Is this such a celebratory thing?"

This was just one scene, the first scene of the long filming of the entire movie.

Even if the quality of this scene exceeded expectations, it was indeed worth celebrating, but this could not guarantee the excellence of the entire finished film.

At least, from Anson's limited filming experience, there was no need to make such a fuss.

Hearing Anson's words, Heath calmly scrutinized Anson's expression, "So, are you pretending to be humble?"

Anson didn't explain, but instead reacted to Heath's teasing, "Shh. There's no need to expose it."

Heath laughed heartily, he just liked Anson's straightforwardness, unlike the group of hypocrites in Hollywood who liked to be fake and ingratiating.

Anson didn't say anything more, but turned to look at Rachel, "What were you going to say just now?"

Rachel was stunned, she didn't expect that Anson would still be thinking about her, those eyes were still clear, as if he could see through her disguise at a glance, her heart couldn't help but beat faster, but seeing Heath beside her, she quickly waved her hand, "No, no, it's nothing."

"I just wanted to ask if this scene still needs shots from other angles."

Phew.

Rachel breathed a sigh of relief, hastily finding a reliable excuse, carefully concealing her slightly flushed cheeks.

Anson didn't notice Rachel's abnormality, he was persuaded by Rachel's question, "We need to ask the director."

This was indeed a problem, and also a professional problem for the director.

The truly top directors, from Alfred Hitchcock to Ingmar Bergman to Stanley Kubrick to Martin Scorsese and so on, all have their own considerations for their shots, from composition to staging to camera angles.

Sometimes it is for narration, sometimes it is to imply the relationship between characters, sometimes it is to form an interaction between the big screen and the audience, and sometimes it is to cut into editing points to ensure the smoothness of the film's advancement, and so on.

So, for a scene, what camera angle, what composition, the director has his own ideas.

Just like this scene just now, whether the protagonist of the lens is Evan or Keller, whether the relationship between the two characters presented by the lens is equal or restrained, what lines present what relationship, what camera angle shows what emotion, the invisible details can bring different viewing experiences to the audience, or in other words, what else can the lens bring besides the lines?

Everything can be carefully studied.

The filming and creation of a film is far more than just using images to show the plot; the difference between film and television is far more than just the size of the screen.

But.

If the director does not have the talent of lens language, and only fits the script and plot to show, such lenses are often called functional display, they cannot give the plot and performance more extension space, and can only rely on the energy of the plot itself and the audience to complete the interaction.

And Mackie and Eric's words…