986-990

*Chapter 986: Embracing the Unknown*

From Tobey Maguire to Anson Wood, the current “Spider-Man” has evolved into a completely different work.

Anson is trying to break free from the shadow of previous portrayals and bring a unique flavor to the film, reinterpreting the character and story in his own way.

Perhaps, Anson will succeed and make “Spider-Man” a monumental series that will be remembered in history, redefining superhero films in this era.

Perhaps, Anson will regretfully fail, and “Spider-Man 2” won’t be able to break the usual sequel slump, possibly performing even worse than Tobey’s version.

But still, Anson wants to try—

The true charm of life lies not in success but in courageously embracing the unknown and exploring different possibilities.

So.

Anson hopes to fully experience Peter Parker’s life, to completely immerse himself in the character and feel the struggles between reality and ideals that Peter faces.

Then, build the character, the framework, and the entire flow of the performance to fulfill his duty as an actor.

After all, only by truly experiencing it can one feel the authenticity in a grounded way.

Just like earlier, the struggles of that pizza delivery guy. Simply imagining it might give you a sense, but you can’t really empathize, and you might even pass judgment from a high ground, saying, “Why didn’t he do this?” or “Why didn’t he do that?” Without truly understanding his frustration and helplessness.

Peter Parker is troubled by more than just balancing school and work, or choosing between love and justice. He also has to figure out how to fulfill his responsibility—

Who deserves saving, and who doesn’t? Which minor crimes can be ignored, and which are life-threatening and must be stopped? Does this mean he becomes a judge, a god, deciding who gets punished and whose lives should be saved?

For crying out loud, Peter is just a college kid who doesn’t even know how he’ll pay this month’s rent, and yet he has to ponder the deep questions of playing god and judging humanity?

And that’s precisely why the chaos and pressure of the pizza delivery guy’s life are critical in shaping the character, giving him a sense of everyday reality.

The only regret is that the time is too short, and Anson couldn’t fully dive into the pizza delivery life and experience it for a few days.

Anson didn’t hide his disappointment. “Maybe next time I should set aside more time to prepare for the role. I’ve heard Daniel Day-Lewis starts preparing six months in advance for his roles, and I think that’s worth learning from.”

As Anson said this, he noticed Noah’s slightly awkward expression. This whole conversation had basically been his monologue.

Anson thought for a moment, then smiled, “What you just asked wasn’t about this, right?”

Noah scratched his head. He didn’t know anything about acting, honestly.

This straightforward guy didn’t bother with polite chatter and said frankly, “I was just asking, how’s the trailer…feeling?”

Then Noah looked at Anson with an awkward smile. “Heh heh.”

Anson chuckled and lifted his chin slightly. “Perfect.”

Looking around, he added, “Honestly, it feels a bit too luxurious. I’m not used to it. I finally understand how the character in Sunset Boulevard felt.”

Halfway through the sentence, Anson noticed Noah’s blank expression and paused. “You haven’t seen Sunset Boulevard, have you?”

Noah smiled sheepishly. “I only know the actual Sunset Boulevard that connects to Santa Monica.”

Anson burst out laughing.

Noah, “Sorry, I’ll go watch it later.”

Anson waved it off, smiling broadly. “No need. It’s just a movie, nothing you have to see.”

Knock, knock.

A knock at the door interrupted their conversation. Anson looked slightly surprised—he had just arrived on set. Who could be looking for him? “Is it your friend?”

Noah shook his head vigorously, like a drumbeat.

Anson called out, “Come in.”

The door opened, and a young man fully equipped with a headset, walkie-talkie, and a small satchel appeared—like a vendor on set, only missing a treasure chest.

“Hey, good morning, Anson. I’m Jack, the production assistant. I handle everything for the New York set. If you need anything, anything at all, just let Noah know, and I’ll take care of it immediately.”

“Wow, we’re all excited for this project. The filming is going to be so much fun.”

“Oh, and by the way, the crowd at the shoot today might be big—half of New York is turning out to watch us film. Everyone’s excited for Spider-Man, but don’t worry, we’ve got security covered. We’ll make sure everything goes smoothly.”

He rattled off sentence after sentence, barely giving Anson a chance to respond, his booming voice filling the trailer.

So, what’s happening right now?

“I just came by to check in and see if you need anything. Is everything good here? Anything missing? Do you need anything topped off? Oh, and the mini-fridge is stocked up per Noah’s request. So, breakfast? A sandwich, salad, or something else?”

After finishing, Jack gave Anson a big smile and pulled a pen from his ear, ready to jot down notes in his notebook.

For some reason, Anson suddenly thought of that overzealous reporter from Harry Potter and the Goblet of Fire. What was her name again?

A smile tugged at Anson’s lips, and he chuckled. “No, no, everything’s fine. I’ve already had breakfast, but thank you for asking.”

“By the way, Sam—I mean, the director—Sam, where is he? I need to find him.”

Jack snapped his fingers. “No problem. I’ll get him for you right away.”

Anson waved his hand. “No, just tell me where he is, and I’ll go.”

But Jack didn’t give him a chance to respond, seemingly not hearing him. “Just wait here. I’ll be back in a moment.”

After a brief hesitation, Jack climbed the stairs into the trailer. Though it wasn’t very high, he no longer looked like a hobbit. Standing before Anson, he extended his right hand. “Welcome to the team. I’m really looking forward to working with you.”

Anson politely shook his hand and even gave him a quick hug.

Jack stiffened for a moment, which made Anson a bit flustered. “Sorry, it’s a California thing. I forgot New Yorkers don’t really do that.”

Jack shook his head rapidly. “No, no, it’s fine. Welcome. I mean, thank you.” He wiped imaginary sweat from his forehead before turning to leave.

As soon as the trailer door closed, a loud cheer came from outside. “Oh yeah! Ahhh!”

Anson looked at a bewildered Noah, who clearly had no answers either.

So, Anson shouted toward the door, “Jack, you know this trailer isn’t soundproof, right?”

“Ahh.” A startled yelp followed by the sound of hurried footsteps, and then silence returned outside.

The world was quiet again.

*Chapter 987: Script Meeting*

Finally, the world quieted down.

However, it didn't last long—

One after another, visitors kept coming.

Since Anson had entered the trailer, there hadn’t been even thirty seconds of peace, making him wonder if there was a long line of people waiting outside.

This went on until James Franco showed up.

"Wow."

"Wow..."

"Wow!"

James didn’t say much, just kept exclaiming, and then plopped onto the big bed, letting his entire body feel the softness of the mattress.

In fact, Anson immediately sensed the playful mockery behind James’ actions. However, Anson gave no response, calmly sitting nearby.

Unable to resist, James sighed dramatically, "Oh... sigh... it’s so heartbreaking..."

Unfortunately, he still didn’t get any response.

James sat up abruptly, "Hey, man, aren’t you going to console my wounded soul? The crew gave you a luxury trailer, and we got nothing. Can you believe it?"

"Nothing! At all!"

"This is unfair treatment, and I’m going to file a complaint with the actors' union."

As he spoke, James rolled around dramatically in mock protest.

Anson looked at him calmly, amused, as if watching a circus performance, shaking his head, "What a pity. Someone missed out on the role, fate played its tricks, destiny shifted... too bad, too bad."

James froze for a moment, then clutched his chest dramatically. "Killer! You’re heartless! Ah, I’m dead..."

Just as he finished, the trailer door opened again.

Sam Raimi stood there, looking awkwardly at James rolling around. But James hadn’t noticed and kept up his performance.

Anson didn’t bother to alert James. He stood and walked over to Sam. "Hey, Director, long time no see."

Before Sam could speak, James called out lazily, "It’s no use talking to the director!"

Anson noticed Sam’s slightly awkward expression—Sam, a straightforward man, was clearly uncomfortable—and explained, "He’s jealous of my trailer."

Sam immediately understood and chuckled, "I’m jealous too."

After a brief pause, Sam seemed more at ease. After all, he and Anson had enjoyed a pleasant collaboration before, and they’d stayed in touch through calls and emails over the past few months. They had built a rapport.

"The whole crew has been eagerly awaiting Anson Wood."

"Look, the moment you showed up, word spread like wildfire. Everyone rushed over to see you, like water boiling over."

Earlier, the steady stream of visitors had all been crew members stopping by to greet Anson. At first, Anson hadn’t understood why, as this wasn’t the usual practice. But he gradually realized—over just a few months, his status in Hollywood had quietly shifted, and with a project as big as Spider-Man 2, the atmosphere on set had changed as well.

Even Sam was making jokes now.

Anson raised an eyebrow. "Like a panda at the zoo."

A panda?

The image popped into Sam’s mind, and he couldn’t hold back a laugh.

Finally, James noticed something was off. He looked up and saw Sam, tumbling off the bed in a panic. "Director, when did you get here?"

"Right when you got shot in the chest," Sam replied calmly.

James tried to explain but ended up choking on his own spit, coughing violently. "Director... director..."

Sam exchanged a glance with Anson, a mischievous twinkle in his eye, though outwardly he remained composed. Ignoring James, he turned to Anson. "You called me over for something?"

"Yes, the script." Anson cut straight to the point, skipping further small talk.

Sam wasn’t surprised. "I figured as much."

He sat down on the sofa against the wall, pulled the script out of his briefcase, and pushed it toward Anson.

Earlier in the year, during discussions between Edgar and Sony-Columbia about the sequel, Anson had expressed a desire to read the script in advance and offer his input, wanting to be involved in its creation.

Edgar had been supportive, hoping Anson would gain more influence and strengthen his position. Sony-Columbia also wasn’t surprised, assuming Anson was looking to transition into a producer role.

However, Anson had his own ideas.

He knew that Spider-Man 2 was later hailed as a classic and became a milestone in superhero cinema. But why didn’t Spider-Man 2 achieve the legendary status of The Dark Knight?

Even as the superhero genre exploded, with countless films flooding the market, The Dark Knight remained an iconic masterpiece, while Spider-Man 2 didn’t receive the same recognition.

The reason lay in the script.

Spider-Man 2 undeniably pioneered a new style and inspired many similar films, solidifying its status as a classic. However, the script itself was still lacking.

The strength was that Peter Parker’s character arc was well-developed.

The weakness was that "well-developed" didn’t mean "outstanding."

First, Peter Parker's character arc was bogged down by repetitive, unnecessary narrative elements.

Second, the plot was overly simplistic, with the tone of a high school soap opera.

These soap-opera elements not only disrupted the film's pacing but also weakened its appeal. Tobey Maguire's performance in particular came off as overly melodramatic, his tendency to act with wide-eyed innocence a problem partly of his own making and partly of the script.

And that wasn’t the worst of it.

What frustrated Anson the most was that Sam Raimi was willing to spend time exploring the emotional depths and growth arcs of the characters, but poor narrative efficiency led to a lot of unnecessary scenes. This, in turn, limited the development of key relationships:

Family—Aunt May; friendship—Harry; romance—Mary Jane.

Of these three, aside from Aunt May, who served a functional role, both Harry and Mary Jane, crucial to the plot and character development, felt shallow and even irritating, failing to evoke any emotional response despite ample screen time. They remained flat, one-dimensional characters.

This was a huge missed opportunity.

So, while The Dark Knight comes to mind when discussing iconic films, Spider-Man 2 rarely gets mentioned in the same breath.

In Anson’s view, Spider-Man 2 had the potential to be a timeless classic. If Sony-Columbia simply treated it as a youthful coming-of-age movie, it would be a tremendous waste.

Of course, Anson wasn’t aiming for the philosophical depth or moral complexity of The Dark Knight. He wanted to maintain the popcorn-flick quality, the youthful, school-focused feel—similar to The Avengers, a classic in its own right. That would be enough to make Spider-Man 2 a lasting classic.

So over the past few months, while touring Europe, Anson had been in constant communication with Sam, exchanging ideas and diving deeper into the script in hopes of finding a balance and making the movie tighter and more compelling.

However, this wasn’t an easy task.

It’s one thing to discuss ideas, but actually implementing them makes you realize just how challenging screenwriting in Hollywood really is.

*Chapter 988: Building the Framework*

As an observer, it's easy to point fingers and say a script should go this way or that way, or that a movie should be made in this or that manner—after all, everyone has an opinion.

But as an actual participant, you'll quickly discover that things are more difficult than they seem.

How do you construct a structure and set up a storyline within that framework without it feeling clichéd or over-the-top? How do you effectively tie the plot to the characters, ensuring it complements the main narrative? Most importantly, how do you maintain a good narrative pace and ensure those "popcorn moments" don't get lost?

In a way, creating commercial genre films is harder than making art films.

With art films, the focus is on the creator's personal expression—if it doesn’t resonate with audiences, it’s just that the creator didn’t communicate their vision clearly or failed to strike a chord. But genre films don’t have that luxury. Balancing unique storytelling with popular trends is an ongoing challenge.

That’s why there’s a famous saying in Hollywood:

Everyone thinks the script for Titanic was simple, without any difficulty. Writers with even a hint of artistic ambition scoffed at it. Yet, no one has been able to write a second Titanic.

Think about it. Twenty years later, Titanic's global box office record has been surpassed by Avatar and Avengers: Endgame. Even in North America, movies like Star Wars: The Force Awakens, Spider-Man: No Way Home, Top Gun: Maverick, and Black Panther have all surpassed Titanic's numbers. What was once considered an unbeatable standard has finally been surpassed.

Yet, none of them are Titanic—at least not from a script perspective. Only Avatar isn't a sequel or an adaptation.

So, is the Titanic script simple?

Simple, but not really.

At least, Anson believes that writing a script is not a simple task—

During the production phase of The Butterfly Effect, Anson got a rough taste of this challenge. Back then, the changes required were limited and didn’t involve a complete overhaul. It was difficult, but still within his expectations. Now, although the framework hasn’t been altered, the core structure needs to be addressed in a much more significant way.

The difficulty is beyond imagination.

Even though he was mentally prepared, the actual process of moving things forward was extremely challenging.

For the past few months, Anson has been working closely with the screenwriting team, trying to find a balance to improve the quality of the movie.

Right up until the crew was ready to start filming, the script still wasn't 100% finalized.

But in Hollywood, this is a common occurrence. Not long ago, Anson went through something similar during the filming of Eternal Sunshine of the Spotless Mind, so he’s no stranger to the experience now.

Sam Raimi pushed the script toward Anson.

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

Anson reached for the script, still warm from the printer, signaling that it had just been printed.

He looked at Sam and said, “I’m feeling a little uneasy.”

“The way you're talking makes it sound like my suggestions didn’t make it in. Seems I don’t have enough clout yet.”

Knock, knock.

Someone was knocking on the door again.

Noah glanced at the door. "Should I stand guard outside?"

Anson laughed, “You’re not a doorman. No need to worry.” Then he called out loudly, “Come in.”

“Whoa, am I interrupting? Are the boys having a party?” Kirsten Dunst poked her head in through the door, looking left and right.

Anson waved her in. “Perfect timing, way smarter than James.”

Next to him, the thick-skinned James had already made himself comfortable, sitting cross-legged as if nothing was happening, curiously watching Anson and Sam.

Upon hearing Anson’s remark, James turned to Kirsten. “Anson’s been discussing the script with the crew. Did you know that?”

Was that... sarcasm?

Anson waved his hand. “Director, even teen dramas come in categories. There’s School Ties and 10 Things I Hate About You, there’s American Pie and The Princess Diaries, and then there’s Dead Poets Society and The Breakfast Club. Same genre, but with completely different approaches. We just need to find our position.”

James looked at Anson, and Kirsten also thought it over carefully.

Sam was silent for a moment. “So, are we leaning more toward The Breakfast Club approach?”

*Chapter 989: Increasing Screen Time*

"Spider-Man" is a classic example of a high school coming-of-age movie, focusing on the growth of an ordinary middle school student. The film features a lot of content on school bullying, first love, and future uncertainties, which are significant reasons for the movie’s success. Peter Parker's "boy-next-door" image resonated with audiences.

In "Spider-Man 2," the same narrative style continues, but Sam Raimi struggled to clarify his direction. On one hand, he clung to the high school coming-of-age theme, while on the other hand, he attempted to address the complexities of adult life. This tug-of-war resulted in a deeper theme that was undermined by immature and shallow storytelling.

Thus, Anson has been trying to reduce those immature parts that seem like unnecessary whining, without altering the overall tone of the film.

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

Sam pondered the words carefully. His expressionless face seemed distant but was actually deep in thought.

James, however, still found it hard to believe Anson. "So you voluntarily reduced your screen time?"

"Oh God, Anson, look at Tom Cruise. No matter what, he insists on increasing his screen time, ensuring he's always at the center. And you're…"

James was practically incredulous.

Anson's perspective was clear: when it comes to characters and a project, always choose the project.

Indeed, a standout character may leave a lasting impression on the audience, but an exceptional work can stand the test of time.

Given the choice between a great character in a bad movie or a mediocre character in a great movie, Anson would always choose the latter.

Yet Anson understood James' concern—actors need to solidify their position in Hollywood. In this ever-changing world of fame, no matter how good the project is, if the actor doesn’t shine, it won't matter. Production companies still cling to the belief that a star can elevate the quality of a film, ignoring the importance of the director and writer.

Ultimately, it’s about making a choice—focus on your short-term career, or take a long-term view of the future.

So, Anson didn’t argue with James. He knew James was just worried about him. Instead, he teased, "Since my screen time is reduced, it means more screen time for you and Kristen."

James blinked, then turned to Sam, "Director, I think Anson's got a point."

They all laughed.

Even Sam chuckled, nodding in agreement with Anson's questioning glance. "We’ve finished revising Harry’s part," Sam said.

James suddenly perked up, "Wow, how did you revise it? Does he now save New York overnight with his dashing good looks?"

Sam’s mouth twitched slightly. "Is that all you aspire to?"

James was unapologetic. "Well, since I can't be Spider-Man, I should at least show off my charm, right?"

Sam turned to Anson, "It seems like the extra screen time you fought for Harry might go to waste."

James looked stunned, then turned to Anson in disbelief. "No way, man! Did you really fight for more screen time for me?"

Anson didn’t need to answer; Sam confirmed it. "Yes, that’s exactly what happened."

The entire story of "Spider-Man 2" revolves around Peter Parker. When Anson modified the protagonist’s storyline, the supporting characters naturally had to follow suit.

To be more precise, adjusting the supporting characters’ screen time serves to enhance the protagonist’s arc. It’s all interconnected.

Sam glanced at Anson. When it came to handling the actors, Anson was more experienced. Over the past few months, this had earned him Sam's trust.

Anson added, "Hesitation, struggle, and torment. Harry knows he shouldn't blame Peter, but he can't control himself. He doesn’t understand Peter’s silence. The kinder Peter is, the more convinced Harry becomes that Peter knows Spider-Man’s whereabouts."

"In the end, Harry descends into darkness."

*Chapter 990: Stopping Here*

"Actually, we can think of it this way."

"The core of the 'Spider-Man' story, from the first movie to the second, is all about choice. Every character has the opportunity to make choices. Peter hesitates between choosing justice or choosing himself; Doctor Octopus must choose between pursuing the truth of science or staying true to his heart and avoiding the destruction of the world; Harry faces the choice of whether to trust Peter or let himself be blinded by hatred."

"Many times, people say, 'I had no choice,' and that's why they are forced to turn to evil. But in reality, everyone has a choice. How to define moral boundaries, how to define oneself — we always have the right to choose."

"And it's precisely the choices we make that ultimately shape who we are."

"So, when it comes to Harry’s character, I believe we should focus on two aspects."

"One part is Peter. Peter can't just stay silent. Whether it's out of guilt or genuinely seeing Harry as a friend, Peter is always there, trying to help Harry through his tough times."

"The other part is Harry. How does he view Peter? How does he cope with the pain of losing his father while still grappling with the regret of losing Mary Jane? He once tried to choose the path of light but ultimately fell to darkness."

"In a way, it's similar to Anakin Skywalker in the 'Star Wars' prequels — how one makes choices when faced with hardship and adversity."

To put it simply, Harry now has a small psychological arc.

So, every time Harry appears on screen, it's no longer just to drive the plot forward. His interactions with Peter need to be filled with more details, giving depth to both the story and the characters.

Even though it's not much, it could add a sense of completeness to the entire film.

After finishing his point, Anson noticed James's gaze, which seemed to carry some deeper meaning.

Anson thought James was about to make a sarcastic comment, so he stared back straight at him.

James raised his head slightly and spoke frankly without holding anything back, "So, are you trying to have me compete against Hayden for the same role?"

In "Star Wars: Episode II," Anakin Skywalker was played by Hayden Christensen, but Hayden no longer had any connection with them now.

Sam and Kristen seemed confused, but Anson and James exchanged a look.

Anson paused for a moment—honestly, he hadn’t even thought about that. He was just using it as an example, and, in fact, he hadn’t thought about Hayden in a long time.

Now, with James's reminder, Anson couldn’t help but smile.

Then, Anson nodded slightly, "What, you worried you can't measure up?"

James's eyes widened, "No way! Don’t say things like that."

Anson remained calm, "So, are you confident or not?"

James: ...

James was momentarily speechless but puffed out his chest and smacked it a few times, "Of course! Just watch, there's no way I'm worse than that guy."

Sam and Kristen exchanged a glance. It was clear that something had happened between Anson, James, and Hayden, but neither of them were gossipers, so they stayed silent.

It wasn’t until Anson turned to Sam, "What about Mary Jane?"

Kristen was taken aback — was she still in this?

When Kristen had agreed to do "Spider-Man 2," one important reason was Anson. She believed that a film starring him would have a different feel, something beyond just popcorn entertainment.

However, reality didn’t quite meet her expectations. Mary Jane’s role in the film was little more than a damsel in distress, there to scream and wait to be rescued — it was inevitably disappointing.

Anson wasn’t surprised by this and sighed softly, "It's already the 21st century, yet romance in genre films is still stuck in the 'I love her, she loves him, but he doesn't love her' routine. Whoever made that decision really needs to grow up."

With that offhand remark, he threw in a bit of sarcasm.

Next to him, Kristen couldn’t help but smile. Though she tried to be polite and lowered her head to hide her amusement, the smile still crept across her face.