From Flower Vase to Film Emperor in Hollywood

Thinking seriously, "The Notebook" should be released next year, but it still sparked heated discussions and earned tears. From "Ghost" to "The Notebook," fifteen years have passed, but the core of this type of movie has not changed.

Youth campus dramas full of gimmicks and dog blood like "Gossip Girl" can still explode on small screens after the millennium, setting off a frenzy of heated discussions. Subsequent similar dramas such as "Emily in Paris" are also always active on small screens.

Therefore, Sony Columbia's persistence in this type of love story is not surprising.

It's not just superhero movies; most genre films have this kind of love line problem. The difference lies in whether they put their heart into it or not.

Moreover, Anson continued to add, "The key is that film companies still define female characters in genre films as objects to be gazed upon, waiting for the superhero to rescue them."

Or, to put it more bluntly, female characters are still just vases in these works. As Anson, who exists as a vase himself, he couldn't be more aware of this.

Sam: "Shouldn't it be like this?"

Anson shrugged lightly, "We can also unite all forces in the process of fighting evil, like 'Alien' or 'Terminator 2.'"

Sam pondered for a while. Although he didn't agree with Anson's point of view, he still thought about it very seriously, "But 'Spider-Man' is not such a story. If we try to give Mary Jane more imagery and influence, the direction of script creation should change completely."

Anson understood. He also knew that it was 2003, and the development of genre films was still on the rise. There was still some room for exploration, and it had not yet reached a turning point. Creators would naturally not easily break the successful model of the past two decades. Therefore, discussing the impact of the vase image of female characters, which may lead to a lack of emotional connection, is still too early.

Sony Columbia obviously couldn't understand this.

Moreover, the most important and crucial part is:

"Anson Wood's" name doesn't carry enough weight.

Anson's say is limited. Although Edgar has won Anson compensation, treatment, status, and other conditions, Anson's say in the entire film project is still far from enough.

This is not surprising—

You have to eat one bite at a time, and you have to walk one step at a time.

From the vase supporting role in "The Princess Diaries" to the core protagonist of the "Spider-Man" series, Anson's rise has been too fast, and his foundation is unstable. He can't rush it.

Anson thought for a while and didn't force it.

"Director, at least we can add some details like in the first film to make Mary Jane's unforgettable feelings for Peter convincing."

Sam: "How to add them?"

This is a difficult problem.

How can we make the characters have flesh and blood and be convincing without making drastic changes?

Anson had one or two ideas about this.

"Eyes."

"You can add some shots in the plot, shots of Peter looking at Mary Jane, Mary Jane inadvertently noticing Peter's eyes in the crowd."

Sam was slightly hesitant.

In the past few months, they have been trying to create an excellent script. They were originally worried that Anson, an outsider, would pretend to understand and give blind commands, but they did not expect that Anson's opinions were pertinent and sharp. Unconsciously, a group of editors sat together and brainstormed.

Behind their backs, they also said bad things about Anson, "increasing the workload." Although in Hollywood, script revisions also require payment, the pressure is still there, and the screenwriters cannot sleep peacefully. With a turn, they have to admit that Anson does want to improve the quality of the film.

In the past fifteen years, there have been more and more sequels, and they have evolved into a trend. Among them, there are examples of sequels surpassing their predecessors, such as "Terminator 2" and "Aliens"; but overall, sequel flops are becoming a brand-new Hollywood conclusion.

However, for the sake of profit, Hollywood film companies continue to produce sequels regardless, because sequels do not require original stories, sequels are simpler, and the audience base accumulated by the previous work can always provide a guarantee for the sequel. Making sequels seems to be an easy task that does not require brainstorming.

In addition, series films often receive more attention in the DVD rental market, and this part of the profit is more profitable than box office revenue for film companies.

In fact, flops are flops, but overall, sequel films are still making money, which is also an objective fact.

As a result, the pressure falls entirely on the shoulders of the main creative team—

They must produce an excellent work; otherwise, the film company is responsible for making money, and they are responsible for bearing the infamy.

"Star Wars: Episode II – Attack of the Clones" is a lesson from the past.

Last summer, the film debuted with countless expectations, and the box office was far below expectations, but it still made money. Twentieth Century Fox had no reason not to continue, and the third film in the series has been approved and is in operation.

The problem is that the film was met with a barrage of criticism, overwhelming and everywhere. Director George Lucas was scolded to the point of near collapse and was once depressed.

Even a director with George Lucas's industry status was no exception. During the preparation of the third film in the series, George finally couldn't control himself, turned around and left the crew, left Los Angeles, and told Twentieth Century Fox that there would be no third film. He officially gave up the production of the sequel.

Twentieth Century Fox was directly frightened and cried, begging George for a long time before finally persuading George to return to the set and continue to complete the production of the series.

However, "Star Wars: Episode III – Revenge of the Sith" became the last work in George Lucas's directing career. After 2004, he never directed any works again, only served as a producer, and completely transitioned to behind the scenes.

Imagine how inconceivable and incredible the achievements of "Spider-Man" last summer were, writing a series of historical records; and now, these records and this history have all evolved into pressure, heavily pressing on the sequel.

Sam witnessed George's embarrassment and predicament last year, and now it's his turn, so it's inevitable that he feels apprehensive.

Even George Lucas ran into obstacles in the impact of the sequel, let alone Sam himself? "Evil Dead II" was criticized for being tapped out back then.

Under pressure, Sam couldn't control his wild thoughts. From the script, he had been struggling back and forth, and he had to find a balance between his own ideas, the audience's expectations, and the film company's restrictions. This is really too difficult.

Although the film is about to start shooting, he still lacks confidence.

At this time, looking at Anson in front of him, Sam paused, and his thoughts surged again, but Sam still remained calm and did not reveal his expression.

He just asked one question, "Are you sure?"