From Flower Vase to Film Emperor in Hollywood

"Spider-Man" is also a typical teen campus film, focusing on the growth of an ordinary middle school student. Therefore, the film features a large amount of campus violence, budding first love, and confusion about the future. This is one of the important reasons for the film's success, with Peter Parker's image as a boy next door successfully touching the audience.

"Spider-Man 2" continues this narrative, but Sam Raimi didn't sort out his thoughts clearly. On one hand, he was reluctant to leave the teen campus genre, and on the other hand, he tried to face the troubles of the adult world. This tug-of-war led to the immaturity and superficiality of the narrative under a profound theme.

Therefore, Anson has been trying to reduce those pretentious and childish parts, on the premise of not changing the overall tone of the film.

Anson looked at Sam, "Director, this depends on what kind of Peter Parker you want to create."

Sam carefully pondered for a while. His expressionless face looked like he was absent-minded, but he was actually thinking.

James still found it hard to believe Anson, "So you're voluntarily reducing your scenes?"

"Oh, God, Anson, look at Tom Cruise. No matter what, he insists on increasing his scenes to establish his absolute core position. How can you..."

James simply couldn't believe it.

What Anson wanted to say was that between a role and a work, always choose the latter—

Indeed, an outstanding role can make the audience remember the actor firmly; but an excellent work can stand the test of time enduringly.

Given the choice between a good role and a bad work, or a bad role and a good work, Anson insists on the latter.

But Anson also understood James's concerns. An actor still needs to establish his position in Hollywood. Otherwise, in this fickle world of fame and fortune, no matter how outstanding the work is, it's still useless. People still need to see the actor's "superstar charm." Countless production companies still stubbornly believe that actors can change the quality of a work, ignoring the existence of directors and screenwriters, and blindly believing in superstars.

Ultimately, it's still a matter of choice—

Choosing one's career in the short term, or taking a long-term view of the future.

Therefore, Anson did not argue with James. He knew James was worried about him, so he joked, "My scenes are reduced, which also means that your and Kristen's scenes will increase."

James blinked, turned to look at Sam, "Director, I think Anson is right."

Hahaha.

Sam also rarely laughed along, noticing Anson's inquiring gaze, he nodded in agreement, "We have completed the modification of Harry's part."

James immediately became excited, "Wow, how was it modified? Is it the handsome, suave, and dashing rescue of New York overnight?"

Sam's mouth twitched slightly, "Is that all you aspire to?"

James looked at ease, "Anyway, I can't become Spider-Man. At least I should show off my charm, right?"

Sam looked at Anson, "It seems that the scenes you fought for for Harry may be in vain."

James couldn't help but be stunned, then looked at Anson, revealing an incredible look of astonishment, "No way, brother, did you really get me some acting space?"

Without needing Anson to answer, Sam confirmed, "That's indeed the case."

One is immersed in the shadow of losing his father, getting drunk day and night, and thinking about Spider-Man, hoping to kill the enemy with his own hands.

The other starts a new life after being rejected by Peter, but always remembers Spider-Man, even if she is engaged to someone else, she is still hesitant.

Writing it this way is not impossible. This is the typical Hollywood narrative law centered around the protagonist; but the key is that neither character has an arc nor a foundation.

For Harry, the entire movie is about getting drunk, constantly yelling about killing, and then... then discovering his father's secret room, foreshadowing his becoming the Green Goblin, but the entire character is single and flat, without an arc or edges, and the script spends countless efforts but is still a paper tool person.

For Mary Jane, whether it's her new love relationship with her fiancé, or why she can't forget Spider-Man, or why she seems hesitant every time she sees Peter, none of it is explained clearly. Without the foreshadowing of plot and details, her feelings are completely castles in the air, unable to convince the audience, let alone resonate.

In the end, Mary Jane becomes a vase character responsible for screaming. Why Peter can't forget her, what's going on with Mary Jane's emotional entanglement, none of it is explained clearly, which is very unfriendly to the audience.

From the perspective of the idea, Sam and the others have figured it out—

Harry represents the tug-of-war of friendship, and also Peter's struggle on a moral level, because he is indeed the indirect killer of Harry's father's death, even if he was also doing it for survival, and the Green Goblin killed himself, but the kind Peter is still guilty, and in the end Peter has to face the cruel reality of his good friend evolving into the Green Goblin.

Mary Jane represents the hesitation of love. Peter chose to reject her confession in order to protect Mary Jane, but he still couldn't control his feelings. The tug-of-war between pursuing his own happiness and upholding justice became Peter's greatest torment.

Clear and direct at a glance, the entire emotional tension has been pushed to the extreme.

Worthy of recognition.

But at the execution level, they didn't write the supporting characters as real people after all, they are still tool people.

Therefore, Anson gave some suggestions.

Sam looked at James, "The character of Harry also experiences his own arc. He has always hoped that Peter can reveal the whereabouts of Spider-Man, but Peter remains silent; so Harry rejects Peter because of sadness and anger. In his opinion, Spider-Man is a bad guy, a murderer. He doesn't understand why Peter is tight-lipped, and he can't accept it."

"But Peter still plays the role of a loyal friend, always staying by Harry's side, which puts Harry in a battle between heaven and man."

"This tug-of-war and bond eventually become the opportunity for Harry to fall into darkness and become the Green Goblin."

"Logically speaking, Harry should have understood that his father was an evil faction when he saw the Green Goblin equipment in the secret room at home, but hatred blinded his eyes. He believed that Peter's silence was to defend Spider-Man, so he became the Green Goblin."

Obviously, James is also a talented actor, and he quickly understood, "You mean, Harry is not just angry and sad, but also has psychological changes in the process of getting along with Peter."

Sam looked at Anson. Anson is still more familiar with the actors' part. This is also the bridge of trust that Anson has built with practical actions in the past few months.

Anson added, "Hesitation, struggle, torment. Harry knows that he shouldn't blame Peter, but he can't control himself. He doesn't understand the reason for Peter's silence. The better Peter is to him, the more he believes that Peter knows the whereabouts of Spider-Man."

"Finally, fall into darkness."