From Flower Vase to Film Emperor in Hollywood

As an outsider, it's easy to stand by and say the script should be like this, the movie should be like that; everyone has an opinion.

But as a participant, you quickly realize things might be more difficult than you imagined—

How to build a structure and set up plots within the framework without seeming cliché or exaggerated; how to effectively combine the plot with the characters, while complementing the main storyline; most importantly, ensuring the narrative pace and popcorn entertainment value aren't forgotten.

To some extent, creating commercial genre films is more difficult than creating art films.

With art films, the focus can be on the creator's own expression; if it's not good, it's because they didn't express themselves clearly or couldn't evoke resonance. But genre films are different; how to strike a balance between personal characteristics and popular trends is a constant theme.

Therefore, there's a saying in Hollywood.

Simple, but also not simple.

At least, Anson believes that creating a script is not such a simple matter—

During the production phase of "The Butterfly Effect," Anson had a rough experience, but at that time, the parts that needed modification were limited and didn't require major changes. Although it was difficult, it didn't exceed expectations. But now, even though the framework remains unchanged, the core parts inevitably need some adjustments.

Difficult, beyond imagination.

Even with mental preparation, the actual process is still incredibly difficult.

Over the past few months, Anson has been working with the writing team, trying to find a balance point to further improve the quality of the film.

Even until the last moment before the crew was ready to start filming, the script was still not 100% complete.

However, in Hollywood, this kind of thing is common. Not long ago, Anson experienced it while filming "Eternal Sunshine of the Spotless Mind," so he can be considered experienced now.

Sam Raimi pushed the script towards Anson.

"Do you want to read it yourself, or should we discuss it?"

Anson reached out and touched the script, still feeling the warmth on it, immediately knowing that these scripts must have just been printed out.

Anson looked at Sam, "I feel a little uneasy."

"Judging from your tone, it seems my opinion wasn't adopted in the end. Looks like my weight isn't enough."

Knock, knock.

Someone is knocking on the door again.

Noah looked at the door, "Should I stand guard outside?"

Anson laughed, "You're not a door god, there's no need to worry." Then he said aloud, "Come in."

"Wow, is my appearance untimely? Are the boys having a party?" Kirsten Dunst poked her head in from the doorway, looking left and right.

Anson waved, "Perfect timing, much smarter than James."

Beside him, the shameless James had already sat down cross-legged, as if nothing had happened, curiously looking at Anson and Sam.

Hearing Anson's words, James turned to look at Kirsten, "Anson has been discussing the script with the crew, did you know about this?"

Kirsten also came in, roughly surveying the space inside the trailer, which was more spacious and bright than she had imagined. She showed a satisfied expression and replied, "No, I didn't know, but it's not surprising. He's Peter Parker, isn't he?"

Then, Kirsten sat down next to Anson, giving him a fist bump.

After "Eternal Sunshine of the Spotless Mind," the two of them are working together again in the blink of an eye, and their relationship is obviously much closer.

"Moreover, before, on the set, Anson gave Charlie Kaufman script suggestions, and Charlie agreed. He thinks Anson is his muse."

Kirsten teased.

Anson spread his hands, admitting frankly, "There's no way, the charm is irresistible. Don't be jealous, jealousy means you've lost."

James howled beside him.

Anson looked at Sam, "Reading it now would take at least thirty to forty-five minutes, there's no time. Let's just start directly."

"So, is my guess correct?"

Sam didn't beat around the bush, "Correct, but not entirely correct."

Kirsten looked over in confusion.

James lowered his voice and explained, "The latest version of the script is out."

Kirsten suddenly understood.

Sam continued, "We've streamlined Peter's part, even though Sony Columbia isn't too happy that their male lead is asking to reduce his screen time, but after discussing it, we finally agreed that you were right."

James widened his eyes in disbelief, "Anson, are you okay?"

Kirsten wasn't surprised. She knew Anson was willing to make adjustments for the sake of the film, and that Anson's insightful understanding of the characters and the script always brought surprises. "Why streamline it?"

Anson shrugged lightly, "Firstly, Peter needs to be awakened by others every time he has a psychological awakening. The first time is by the psychologist, the second time is by Aunt May, and the third time is by Mary Jane. I understand that Peter is a young man who lacks life wisdom, but doing it this way every time is too straightforward. There's almost no time for him to think for himself, and every conversation is like a self-help book—"

"Sorry, Sam, I don't mean to say self-help books are bad."

Sam adjusted his hair with a slightly embarrassed expression.

"Secondly, Peter's growth line fills the movie's plot too much, but often it's just treading water. Instead of repeating the same things over and over, it's better to change the way it's presented. Sometimes it can be said through dialogue, sometimes it can be left blank, and sometimes it can be shown through the plot."

Since "The Princess Diaries," Anson has insisted on digging into the characters within the script framework, giving the characters expression through his own understanding. But this time is slightly different. He has finally offered some constructive suggestions regarding the existence of the character—

He hopes that the growth arc of the character Peter Parker will be clearer and more concise. By slimming down in this way, the movie can become lighter and be able to shorten the length, ensuring the audience's attention is focused.

As for the result, only the audience can judge.

Sam sat there stunned, "Simply put, he wants the script to reduce some of the drama of a teen high school movie."

Is this… a complaint?

Anson waved his hand, "Director, teen high school movies are also divided into categories. There's 'Mean Girls' and '10 Things I Hate About You,' there's also 'American Pie' and 'The Princess Diaries,' and there's 'Dead Poets Society' and 'The Breakfast Club.' Even within the same type, there are completely different developments. We just need to find our own place."

James looked at Anson, and Kirsten also looked at Anson, thinking carefully.

Sam was silent for a moment, "So we're in the 'Breakfast Club' camp?"