From Flower Vase to Film Emperor in Hollywood

In 2024, director Denis Villeneuve, while promoting "Dune: Part Two," gave an interview to a magazine in which he said something along these lines.

He believed that movies were too influenced by television, placing too much emphasis on what the characters said, to the point of neglecting the important means of storytelling that movies themselves rely on through visuals.

Although the exact wording may be slightly different, the overall meaning expressed is roughly the same.

This Canadian director, who has helmed classic masterpieces such as "Arrival," "Sicario," "Blade Runner 2049," "Incendies," and "Prisoners," stated that in a perfect hypothetical scenario, a movie without dialogue that explores the inner world of characters, their relationships, and the story's context through visuals would be widely popular.

Of course, such a hypothetical is somewhat extreme, but it is undeniable that the biggest difference between movies and television lies in this:

Television relies on scripts for storytelling; movies rely on visuals and sound.

As for Mackie and Eric...

Firstly, Anson didn't think that these two screenwriters-turned-directors were legendary geniuses with a natural talent for visual language.

Secondly, it didn't matter if they weren't geniuses; perhaps they had their own ideas about camera placement and composition, but Anson wasn't sure if they had seriously considered it—

After all, this was only the first scene.

If they had thought about it, that would naturally be great; if they hadn't, it didn't matter, they could start brainstorming now, it wasn't too late.

So, he needed to ask them about it later.

Rachel noticed the focus in Anson's eyes; a smoke bomb she threw out casually unexpectedly hit the mark, which made her secretly exhale, feeling slightly relieved, and her frantically beating heart seemed to calm down a little.

Anson didn't buy it, "Come on, Heath. You're not the social type. You wouldn't leave the entire crew behind just to run over here specifically to congratulate us."

If it were someone else, indeed, it was possible, and perfectly normal; but Heath?

Looking at the rest of the crew standing obediently in place behind him, with Heath alone single-mindedly rushing out, even more enthusiastic than the two directors, Anson didn't believe that Heath was just here to say "Congratulations."

Heath looked at Anson for another moment, stubbornly and haughtily meeting Anson's gaze, "Why not?"

Anson didn't continue to press the issue, "Okay, then it was just me being presumptuous and misjudging. Sorry, I misunderstood you, I offer my sincere apologies."

Heath: ...

That's it?

Actually, Heath was just stubbornly trying to save face, but Anson just accepted it like that, which instead put Heath in an awkward position.

The atmosphere was a bit awkward.

At this moment, Heath's expression could be clearly seen, the muscles in his face frozen stiffly in place, his eyes full of a sense of hopelessness, as if he might turn around and walk away in a huff the next second.

The atmosphere, slightly tense.

And then.

Still Anson.

Anson knew that the impetuous young Heath was full of pride, and that turning around and leaving at the slightest disagreement was completely in his style. If they continued to argue, a small joke could damage their friendship.

Therefore, Anson only hinted at it, and then, at the right moment, broke the deadlock appropriately, without continuing to press the issue, naturally changing the subject.

"How was that scene just now?"

Anson took the initiative to extend an olive branch; after all, he had lived two lives, and his physiological and psychological age far exceeded Heath's, so taking a step forward didn't put any psychological burden on him at all.

But clearly, Heath wasn't used to it.

He hadn't anticipated Anson's response; instead, Anson had taken the initiative to offer a way out.

Heath touched the back of his neck.

He knew that he should apologize at this moment, admitting that he was just trying to save face; but the words of apology just couldn't come out of his mouth.

"Excellent."

Heath said.

"I noticed that you had some variations in the middle. Especially when Rachel confessed…"

Rachel was startled: She? She didn't confess!

Heath seemed to notice Rachel's surprise, he quickly glanced at Rachel, nodding slightly with a stiff and restrained expression, awkwardly expressing his apology:

He meant the character Rachel was playing.

"You paused for a moment, and it seemed like there was more room for thought here."

Anson wasn't surprised that Heath had noticed such details; he also revealed an interested expression, "That's what I was thinking."

"When you truly go back to the past and change the past, what's your first reaction?"

Heath blurted out, "Happiness."

Anson laughed, "Of course, that's a possibility, but Evan's character isn't like that. His first reaction is suspicion, suspecting whether all of this really happened, suspecting whether he really went back to the past and changed the past."

Heath, "Reasonable."

Little by little, Heath completely lost his arrogance from just now, completely drawn into Anson's rhythm of conversation, yet still unaware.

Anson, "And when he realizes that he has only changed one thing, and returns to the present, the world has completely turned upside down, and he easily possesses all the happiness he has dreamed of, his first reaction is…"

Heath, "Worried that it's all fake."

"Bingo." Anson snapped his fingers, "Because everything came too easily, too simply, to the point of feeling unreal; but what about the next second?"

This time, Heath didn't speak—

Heath is that kind of actor, exceptionally talented, with a keen sense for characters and acting. His acting isn't in the style of "because of this, because of that, so it needs to be like this," but rather "I feel it should be like this, so I do it like this."

It is precisely because of this that Heath's characters always have a natural and special texture; this is the typical genius who is gifted by God.

Of course, this isn't to say that Heath doesn't think, it's just that his way of approaching characters is different from Anson's.

Quietly, the conversation shifted to professional matters, and the whole atmosphere became completely different. Neither Heath nor Rachel noticed the change, and they were drawn into the back-and-forth conversation, their expressions focused.

And then.

Anson didn't wait for Heath's answer.

"The next step is to seize it."

"Even though he still harbors doubts and suspicions, the happiness he has dreamed of is right in front of him, even if it's just an illusion, even if it's just a dream, the first reaction after coming to his senses is to seize it, to hold on tightly."

Heath suddenly understood, "Like waking up from a dream, our first reaction is doubt, and our second reaction is to want to return to the dream."

Even if it's fake, it doesn't matter.

Anson nodded slightly, "Seize it at all costs, as if grasping at a life-saving straw."

Heath replayed Anson's performance in his mind, his eyes gradually brightening:

So, this is Anson's acting trajectory, that kind of eagerness and investment like a moth flying into a flame after feeling anxious about gains and losses. Seemingly simple and ordinary details connect the character's emotional trajectory at once.

The character is thus enriched.