946-950

*Chapter 946: The Soul of the Work*

The entire room was electrified, as if in the heat of midsummer.

The Lumière Hall went completely wild—on every level.

They never expected the "Cotterell Family" crew to be a smokescreen, nor did they anticipate the jury to be so firm this year, and they certainly didn’t expect the biggest surprise of this year's Cannes Film Festival to be “Elephant.”

Shock after shock, surprise after surprise, swept through the hall like a tidal wave.

Destroying all reason.

The audience fell into a frenzy.

Not only Alex and Eric were stunned, but even Nicholas and Carl in front of their TV screens were trembling in awe at the overwhelming energy in the room.

At Gus's signal, Alex and Eric rushed behind Anson, using the tall figure as a human shield. Before Anson could react, Gus was already pushing all three of them onto the stage together.

Clap, clap, clap, clap!

Thunderous applause erupted, climbing higher and higher, almost shaking the roof of the Palais.

Patrice Chéreau stepped forward, beaming, and handed the Palme d'Or to Gus, warmly embracing him.

Roar, roar, roar! The cheers, still rising, fully ignited the atmosphere.

Gus took a deep breath, glancing back at Anson and the others. Anson was the first to start clapping, followed by Alex and Eric, who quickly joined in with cheers and whistles, making the scene all the more lively.

Gus couldn’t help but smile as well.

Standing in front of the microphone, Gus took another deep breath.

“Thank you, thank you…”

In fact, Gus had never imagined he would stand here—the highest stage of the three major European film festivals. It always felt like something far removed from him. When making movies, he never thought about awards; most of the time, he was just worried about securing funding, assembling a crew, and translating his ideas into film.

And yet… here he was.

A small surprise.

“Actually, what I wanted to say, I’ve already said earlier. Clearly, I didn’t expect a second time, so I didn’t prepare anything.”

Honest, straightforward, humble.

But that’s Gus. He was never one for eloquent speeches.

Laughter filled the Lumière Hall, the atmosphere lighthearted.

“All that I’ve wanted to say, and all that I could say, is in the film. That’s why I became a director, not a talk show host.”

Ha!

“But here, I want to thank Anson. He’s the soul of this movie. Sorry, Alex, Eric, no offense.”

Laughter echoed again.

Gus looked earnestly at Anson. He wasn’t joking, though the laughter and applause from the crowd made him glance back at Anson, a bit puzzled.

“Until the very last moment, I wasn’t sure casting Anson was the right decision. Just like the film shows, I wanted the kids to reflect their real selves in school, something raw and unpolished. But obviously, Anson wasn’t a high schooler anymore, far from it.”

“Yet, when we met, Anson convinced me—without even speaking.”

“His hair, his clothes, his demeanor matched everything I had imagined. He confirmed the very purpose of this movie.”

“It wasn’t about violence.”

Oh!

There was a collective gasp.

“Sorry to disappoint you.”

Gus remained calm and candid.

“I wanted to capture the state of contemporary American teenagers. School violence and guns were just a part of it. There’s also their daily lives, how they view society and the world, and the future they see.”

“In them, we see our society—both its present and its future.”

“Maybe Anson was the only actor who truly grasped that inspiration. So when Anson appeared on screen, the story had already begun.”

“Anson is the inspiration for the whole story.”

The audience was stunned.

Following Dior’s Hedi Slimane, another person was now referring to Anson as their muse.

More importantly, the lingering effect of “Elephant” was still resonating. Upon reflection, the film’s portrayal of everyday life wasn’t just a glimpse into adolescence; it was a snapshot of society.

A wave of admiration swept over the hall.

“I need to thank Anson for agreeing to take on this role, even though I couldn’t pay him much. I also want to thank him for exploring this story with me and for giving his all, helping Alex, Eric, and me find direction in our confusion.”

“In the end, we arrived here together.”

“Ladies and gentlemen, Anson Wood.”

Clap, clap, clap, clap!

The hall erupted.

This was a historic moment—a director sharing the glory of winning the Palme d’Or with his lead actor, granting him the highest honor.

Clap, clap, clap!

Nicholas watched Anson bathed in golden light, feeling a rush of emotion.

When TMZ first reported Anson had completed filming “Elephant” in Portland, the entire Hollywood scene mocked him for being a shallow actor in over his head.

But now, this so-called shallow actor had brought a film, dismissed by many, to the stage at Cannes—and had even won the Palme d’Or.

It was a stunning, unexpected journey.

Unbelievable—Anson Wood, an actor in a Palme d’Or-winning film!

Nicholas straightened his back, joining in the applause with renewed vigor.

In the midst of the thunderous applause, Anson looked at Gus in disbelief, but Gus stood firm, motioning for him to give an acceptance speech.

Anson was half-laughing, half-crying—

The Palme d’Or was an award for directors; what business did an actor have up there?

But standing on the stage, there was no room for hesitation or modesty.

After confirming one last time, Anson stepped forward, graciously and confidently.

Clap, clap!

The applause soared even higher. Seeing Anson’s calm and composed demeanor, people began whistling, adding to the festive mood.

Among the crowd, Thierry Frémaux also stood up, wearing a polite, composed smile—

Though inwardly, he was cursing.

The jury gave no mercy this year—seven awards, and only four films were recognized. Anyone could see it was a criticism of the overall quality of the competition this year. Naturally, as artistic director, Thierry took the brunt of the blame.

But…

He had already vented his frustration earlier today when the results were announced. Now, as he watched this scene unfold, he couldn’t help but praise the decision: awarding the Palme d’Or to “Elephant” was a bold and commendable move by Patrice Chéreau.

After all, in ten or twenty years, when people think of this Cannes Film Festival, they won’t remember the controversies surrounding “The Cotterell Family” or “Brown Bunny,” and perhaps not even how “Dogville” or “Mystic River” led the critics’ scores. What they will remember is that “Elephant” won the Palme d’Or.

And maybe they’ll also remember Anson’s remarkable and confident debut at Cannes.

Thierry’s eyes gleamed with appreciation as he raised his hands high, clapping vigorously, and joining the audience in whistling.

*Chapter 947: Return to the Film*

Roars of laughter, roars of applause.

A wave of heat surged forward.

But Anson knew that amidst the cheers and applause, there was more good-natured teasing than genuine praise—the Palme d'Or should be the director's moment, not the actor's; after all, Anson wasn't the lead in Elephant, and he shouldn't be receiving this special attention.

The crowd was egging him on.

However, if Anson stayed on stage, constantly being humble and declining the attention, it would come across as pretentious.

So, Anson stepped forward.

Standing at the microphone, Anson didn’t rush to speak. Instead, he waited patiently, waiting for the cheers to die down and for the right moment to speak.

Finally, as the applause and cheers subsided, and the room quieted, all eyes focused on Anson.

Anson scanned the room, took a deep breath, and it seemed like he was preparing for a grand, moving speech.

"Thank you!"

Anson said.

And with that, he turned and walked back to stand beside Alex and Eric, completely calm, leaving the entire Lumière Hall in silence.

It was so short, so sudden, that the audience was left utterly stunned—

That’s it?

Wait, what just happened? That’s it?

Everyone exchanged confused glances. In the silence and bewilderment, there was something oddly funny about the whole situation.

Indeed, the Palme d'Or should belong to the director, not the actor. People were hoping that Anson would be wise enough not to steal the spotlight, that a brief, polite word would suffice.

But that brief? That simple?

Total confusion!

Then, slowly, they began to realize that Anson had cleverly turned the attention back to the film and the director with his brief words. In doing so, he created a comedic effect reminiscent of silent film-era humor—

People couldn't help but laugh.

Just a moment ago, the crowd was teasing him, wanting to see what Anson would do.

But in the next moment, his witty response ignited the room.

Laughter, applause, cheers, whistles, and screams erupted, sweeping across the Lumière Hall like a tidal wave.

The energy grew higher and higher, and at this moment, the closing ceremony and awards show finally reached its peak.

Even Thierry couldn’t help but join in. This was the second time that night, after the red carpet, that he had admired Anson’s impromptu handling up close.

On stage, Gus, Alex, and Eric deliberately stepped back a little and clapped for Anson, urging him to go back to the microphone.

Anson: ???

Wait, what?

With a smile creeping up his face, Anson, without hesitation, returned to the microphone. Once the noise quieted down, he glanced over at Gus.

"Sorry, director, I stole your spotlight. It feels like I won the Palme d'Or."

Ha ha, ha ha ha.

The room burst into laughter.

This time, when the applause died down, the entire audience remained standing, all eyes on Anson.

For a brief moment, Anson stood as if at the center of the world.

"Thank you for this experience. In just ten short days here at Cannes, every minute and second reminded me why we love cinema and why we dedicate ourselves to it. Is it because of our passion? No, it's because of cinema itself, because the time and space on the screen allow us to dream boldly."

"Elephant is the perfect example of the most wonderful, moving aspect of cinema: leaving everything to the imagery. The future of cinema lies where it began: in the theaters."

Roar, roars of applause.

Someone in the audience immediately cheered, and the applause followed.

But this time, Anson didn’t stop and continued with momentum.

"There’s no place more perfect or romantic than the cinema. Those sounds, those lights, those colors make us believe in something that may have long since withered inside us."

"Like dreams. Like the future. Like art."

"So, I’m honored to be a part of Elephant. I’m honored to be a part of the Cannes Film Festival."

"Thank you."

Clapping, roaring applause.

In an instant, the entire Lumière Hall erupted, an incredible energy exploding through the room and spreading beyond its walls, reverberating throughout the Palais des Festivals and all of Cannes.

Nicholas, Carl, Emmanuel, and even the journalists standing hesitantly at the entrance of the Palais felt the vibrations in the air, their hearts trembling slightly. The pinnacle moment of the 2003 Cannes Festival was unfolding.

Everything was about cinema.

Everything was about the theater.

It was quintessentially French.

For as long as anyone can remember, France has always believed that cinema is a great art form and that it belongs in theaters. VHS tapes and DVDs should be reserved for collections, or for unearthing gems from the past, but if you truly love a film, you should go to the theater.

They don’t just say this; they live it. France’s art-house theaters are some of the best in the world, and art films and independent films consistently receive strong support. Not only do audiences show their support, but various institutions and sponsors are also willing to back these projects.

Of course, in this era dominated by commercial blockbusters, France isn’t immune to the influence. Hollywood films are gaining more sway among the younger generation, and with globalization and the rise of the internet, the French youth are facing a cultural crisis of decline.

It is precisely because of this that the Cannes Film Festival has become even more precious. They hope to use this platform to rekindle young people's love for cinema and encourage them to keep going to theaters, showing their support for the film industry with real action.

And in that moment, Anson’s words hit right at the core of Cannes. The Lumière Hall went wild.

Thierry, full of delight, looked at Anson—

Who would have thought that what started as a lighthearted tease, with Anson himself probably not expecting to be giving a Palme d’Or acceptance speech, would evolve into the most precious and beautiful moment of the 56th Cannes Film Festival?

It was the perfect way to conclude the festival.

This is Cannes. They adore directors, but rarely, if ever, are they captivated by actors. Not even Tom Cruise, Brad Pitt, or Leonardo DiCaprio get special treatment here, and they may even be snubbed. Actors have no privileges at Cannes.

Yet, at this moment, Anson was changing that.

Admiration and respect flowed from Thierry's eyes as he gave Anson another round of applause, sincere and heartfelt.

In front of TV screens, the press room was in complete chaos—

The official score was 2.4. Elephant was clearly not everyone's top choice, and the controversy surrounding the film wouldn’t fade. But seeing Elephant take the Palme d'Or, this scene felt like a perfect Hollywood ending.

After all, who could refuse Anson?

Nicholas glanced around, noticing the excitement and thrill on every face. At the last moment, Cannes had still managed to end on a perfect note.

*Chapter 948: Turning Stone to Gold*

“Gus Van Sant, for the first time in his career, has won the Palme d'Or.”

“Elephant wins the Palme d'Or! After a ten-year gap, an American film claims the top prize at the Cannes Film Festival, following Pulp Fiction.”

“Controversy, surprise, chaos—Cannes Film Festival delivers a perfect conclusion with Elephant.”

“Cannes closes—and the winner is Elephant!”

“Bringing cinema back to its roots—Elephant wins the Palme d'Or, and Anson Wood wins Cannes.”

“From controversy to controversy, Elephant rises from the chaos to claim Cannes' top honor.”

“With the Palme d'Or and Best Director, Elephant is the biggest winner of this year's Cannes Film Festival.”

“Not just the Palme d'Or—Gus Van Sant also takes home the Best Director award. Elephant is in the spotlight.”

The media buzzed with excitement as the news of Elephant winning the Palme d'Or dominated the headlines of mainstream outlets, becoming the biggest story of the day.

A glance at the front page of The New York Times alone reveals the waves created by the closing ceremony and awards presentation:

“Elephant, Palme d'Or.”

Simple, direct.

No frills, no gimmicks, straight to the point, not even an exclamation mark, yet it highlights the power of words.

In this article, written by Nicholas Flynn, all the praise and recognition are given to Elephant in a straightforward manner.

On one hand, Nicholas examines this year’s Cannes lineup, reviewing not only the final four award-winning films but also other works in and out of the main competition, ending with Elephant to highlight the jury’s bold choice.

On the other hand, he analyzes Elephant, a film focusing on school violence, while reflecting on the daily struggles of today’s youth, as depicted in its mockumentary style, and the lingering thoughts Gus Van Sant leaves behind.

A comprehensive analysis.

“...Can Elephant become the most important film of the first decade of the millennium? That remains to be seen. But without a doubt, Elephant is one of the most important films this year, especially for America. We should wake up and acknowledge the elephant in the room.

The future is happening now.”

The New York Times, a leader in the industry, crafted an in-depth report with a special feature on Elephant’s triumph, showcasing the responsibility of the press to society. Amidst the media frenzy, they made their voice heard with this thoughtful and comprehensive piece.

And that’s not all.

As Nicholas predicted, a storm was brewing, from Europe to Hollywood.

“Who is Anson Wood? From almost rewriting film history with Spider-Man to winning the Palme d'Or with Elephant, he’s made an impressive leap in just one year.”

“The Anson Craze continues—how did Elephant win the Palme d'Or?”

“Turning stone into gold! Anson Wood proves his keen eye once again.”

Initially, Hollywood was waiting to laugh. Actors trying to make a serious career move happens all the time, but few actually succeed.

So far, the most famous success story is Kim Basinger, a former Playboy model who won the Academy Award for Best Supporting Actress in 1997 for L.A. Confidential.

However, such fairy tales are rare in Hollywood, the dream factory, where most actors never shake the “pretty face” label and end up being discarded and forgotten. All signs pointed to Anson being just another drop in the ocean.

But no one expected a miracle.

A miracle is called a miracle because it is difficult, grand, and rare. When it happens, it creates waves.

This is one of those moments.

All of Hollywood was stunned. They didn’t expect Elephant to win the Palme d'Or, nor did they foresee Anson’s acceptance speech creating such a sensation, sweeping from Europe across the entire North American continent.

It’s unstoppable!

Of course, some may still argue that the Palme d'Or belongs to Gus Van Sant, not Anson; that Anson’s role in Elephant was insignificant, and he’s still just a pretty face without proving his acting chops.

But the truly smart people know that these arguments are meaningless—

The Palme d'Or carries weight in the industry, and that’s enough.

Producers, studios, and investors, the ones controlling the money, know the significance of the Palme d'Or, and that’s what matters.

While Gus’s future projects may gain more attention, the fact is that Gus has never lacked funding for his films. Unless he wants to make another Good Will Hunting, his films won’t likely break through to mainstream awards or box office success, and investors will still think twice.

Elephant is no different.

Despite the Palme d'Or win, the film’s box office prospects remain bleak. HBO’s reaction says it all—this TV network has a habit of winning awards, with countless Emmys to its name, so another Palme d'Or doesn’t mean much. At the end of the day, they’re focused on converting awards into profits.

HBO remains calm and collected.

By contrast, Anson stands out.

Maybe the Palme d'Or recognizes the director, not the actor, but the fact remains: the film Anson chose won the Palme d'Or.

From The Princess Diaries to Spider-Man, Catch Me If You Can, and now Elephant, all four of Anson’s films have been massive successes, each one solidifying his position. If it’s all just luck, no one in Hollywood will believe it.

Turning stone into gold?

This speculation is quickly spreading like wildfire.

How did Tom Cruise and Will Smith rise to superstardom?

The answer lies in five consecutive films grossing over $100 million at the North American box office.

Anson has already achieved this with three films, two of which he led and grossed over $300 million domestically. Now, add a Palme d'Or to that, and it’s a near-perfect trajectory.

While it’s uncertain whether Gus’s next project can break through and deliver awards or box office success, there’s no doubt that Anson’s next film will be the focus.

A thought emerges: if Anson really has the golden touch, wouldn’t studios just need to follow his lead and watch the profits roll in?

This idea quickly takes root.

Many are now watching closely: when is The Butterfly Effect releasing? Will it continue Anson’s box office streak? And this time, Anson is also a producer, making it the perfect test.

The Cannes Film Festival may have ended, but the wave of excitement has just begun.

*Chapter 949: Scheduling Conflict*

"...Roar, roar, roar! The Palme d'Or, the Palme d'Or! We're way out of its league now! Roar, roar, roar!"

Laughter, screams, cheers, and uproar followed.

Even though Anson couldn’t see the scene through the phone, he could vividly imagine the party atmosphere just from the voices of Jake Gyllenhaal and Kirsten Dunst. Los Angeles, across the Atlantic, seemed even more eager to celebrate than the people involved, with champagne and music in full swing.

So, who won the Palme d'Or again?

Anson chuckled silently, not minding at all, and said cheerfully, "Good to know. Right now, I'm taking time out of my extremely busy schedule to answer this call. Do you know how busy I am? You two should probably be kneeling to take this call."

"Yes, yes, terribly sorry," Jake, the joker, played along, "How's my kneeling posture? Good enough?"

Anson smirked, "I can't see. Kirsten?"

Kirsten yelled into the phone, "Reporting! It's perfect, really perfect! This is just a rehearsal. Next time, have Jake do it in person, and make sure he takes it seriously. Oh, and do it for me too."

"Ah..."

Before she could finish, Kirsten let out a yelp, seemingly caught up in some roughhousing with Jake.

On the other end, Anson said, "Hey, you two! Was this call just to show off your relationship? I had a big breakfast, okay?"

"Ha ha, ha ha ha."

Kirsten laughed brightly.

"Jake, Jake! If you’re not talking to Anson, go away. Shoo, shoo!"

"Anson, congrats! Congratulations, congratulations, this is just incredible."

"So, how did things go at Cannes?"

The phone had somehow made its way into Kirsten's hands, and Jake had disappeared somewhere.

Anson said, "Now I finally understand the French's passion for films. It's pure fanaticism. You should come to Cannes sometime; you'd love it."

"Oh, I met a lot of directors—Ozon, Lars von Trier, Ceylan. You wouldn't believe it; there's a whole world of directors outside Hollywood."

In the early 2000s, the concept of a global village was just starting to take off, and international travel was booming. It was a time when people were beginning to open their minds and truly appreciate the grandeur of the world.

For actors who stayed in Hollywood, it was easy to fall into the illusion that Hollywood was the be-all and end-all of cinema. But that wasn’t the case.

Cannes was an important window to the world.

Kirsten had always longed to broaden her horizons and work with more directors, no matter the style or genre, in her quest to explore the boundaries of her acting.

It wasn't the fact that The Elephant won the Palme d'Or that excited Kirsten; rather, it was the idea that Anson got to meet these top-tier directors.

"You met them? You really met them?" Kirsten was particularly excited.

Anson replied, "Of course. Not just at screenings or masterclasses—you run into them around Cannes all the time. I even saw Ceylan rushing around."

"He was running along the promenade just to catch a screening of At Five in the Afternoon. I've never seen such an energetic Ceylan."

Ha ha ha.

Kirsten laughed so hard she almost fell over, even though it wasn’t a real joke. But those funny little stories from film festivals always brought joy and became unforgettable memories.

"Ah, I'm so jealous," Kirsten said without hiding it. "I want to go to a film festival too."

Anson replied, "Then we need to work even harder. More films!"

Kirsten nodded eagerly. "So, are you still in Cannes? When are you coming back?"

"Not that soon," Anson replied. "Next, I'm heading to Italy. Remember my band’s tour? We're not done yet. I believe in finishing what we start. Since we’ve begun, we have to see it through."

"I thought the tour was over."

"No, no, not yet. Italy first, then heading north. We’ll start in Greece and make our way to Hungary, Slovakia, and the rest of Eastern Europe. It’s a big project, but we're ready."

"Wow, that's huge. Honestly, Jake and I were just talking the other day about how we should head to Europe and see one of your street performances in person. The vibe must be incredible; we're really looking forward to it."

Kirsten’s excitement bubbled up again.

"You sound so jealous," Anson teased.

Kirsten nodded without hesitation, "I am! I’m not even trying to hide it. Spending a summer road-tripping through Europe, doing street performances while taking in the charm of old cities—oh my god, that’s the life of my dreams!"

"And stopping at Cannes in the middle, then hitting the road again. Wow, it couldn't get any better."

"But, if you’re continuing the tour, why didn’t you tell Sam and the others to push back the filming to July? That way, your schedule wouldn’t be so tight."

Kirsten was talking about the filming schedule for Spider-Man 2.

Anson chuckled, "I would’ve liked that, but I can’t mess up the whole crew’s schedule just for myself, can I?"

Kirsten asked, "Is that so? But why did you suggest moving the shoot to June in the first place?"

"What do you mean?"

"The original plan was to start in July, but then it was moved up to June. I heard it was because your schedule had a conflict. Also, Sony-Columbia was worried post-production wouldn’t keep up, so they moved it up by a month."

"No, I didn’t," Anson replied, puzzled. "June or July doesn’t affect me. I scheduled my European tour after the film dates were confirmed."

"I made sure my tour in Europe left me a week to get back to New York and prepare for the shoot."

Kirsten didn’t dwell on it. "Maybe it was just a mix-up. You know how Sony-Columbia is. They probably tried to change the schedule and didn’t want to deal with pushback from other actors, so they blamed you instead. After all, the lead is the centerpiece, right?"

Anson joked back, "So, I’m the designated scapegoat?"

Kirsten laughed, "Heavy is the head that wears the crown. You get that big paycheck; just suck it up. Even if you’re not the scapegoat, we’re still talking behind your back anyway."

"Ouch!" Anson clutched his chest, feigning pain.

Kirsten burst out laughing, and the two bantered a bit more before hanging up.

Anson stood there holding his phone, his thoughts swirling.

Something didn’t feel right.

He needed to sort out the timeline—

The band’s album release was set, and he was working on the promotional strategy and schedule. Then the filming of Spider-Man 2 was moved up, which caused a conflict with the filming schedule of The Princess Diaries 2, forcing him to drop the latter. With a brief gap in his schedule, that’s when Anson proposed his European street tour, followed by his participation in the Cannes Film Festival competition.

But, just hypothetically—what if Spider-Man 2 hadn’t been moved up? What then?

"Anson."

A voice called from ahead, snapping Anson out of his thoughts. He looked up to see Edgar approaching.

Chapter 950: Behind the Scenes

"Anson."

The moment he entered the room, Edgar spotted his target and called out.

"Perfect timing."

"Yves and I were just discussing whether you still plan to go ahead with the upcoming European street tour as planned. Are you sure we don't need to increase security?"

"We both think that after the Cannes Film Festival, your recognition in Europe has changed, and the situation might be more complicated. It’s probably best if we—"

Before Edgar could finish, he noticed Anson's eyes.

Calm and deep, as if they could see through every facade.

Without a word, Edgar knew something must have happened. His heart sank, but he clung to reason and remained composed.

Taking a deep breath, Edgar steadied himself.

"Your expression doesn't look great, certainly not like someone who just won the Palme d'Or. Come, sit down and tell me what happened."

Anson scrutinized Edgar carefully. He decided to be direct—no point in beating around the bush.

"I just learned that the filming schedule for Spider-Man 2 was moved up because of a conflict with my schedule. Is that true?"

Anson spoke calmly and directly, trying to keep the conversation objective without assuming too much.

Edgar froze—he hadn’t expected this.

After a pause, Edgar asked, "Who told you that?"

Anson raised an eyebrow slightly. Edgar didn't answer the question directly, instead asking about the source, which said a lot.

"A little bird," Anson replied.

Edgar noticed the brewing storm behind Anson's calm gaze.

What should he do?

At moments like these, Edgar cursed Anson's intelligence and sharpness. He could always see through the masks, leaving Edgar in a bind.

But on second thought, Edgar realized this was also why he trusted Anson so much.

They had benefited from this trust in the good times, with their partnership running smoothly. Now, they faced its challenges.

In a flash, Edgar made his decision—to tell the truth.

He could lie. After all, there was no evidence, no trace to find. But Edgar knew that trust didn’t need proof to crack. Once doubt took root, things would spiral out of control.

Especially with Anson.

"Yes, it’s true," Edgar nodded. "I convinced Sony Columbia to move the filming schedule to June to avoid missing next summer's release."

As expected.

Anson's heart sank slightly. Even though he had correctly anticipated the situation, the truth still stung.

He remained calm. "Why?"

Edgar hesitated. "Anson, you know..."

Anson gently shook his head. "I need to hear it from you, not just guess, reason, or imagine on my own. I know life is full of lies and hypocrisy, especially in Hollywood. But at least between us, I hoped for honesty."

"Remember? From the start, our partnership was built on honesty."

Edgar paused, took a deep breath, and said, "Because I don’t want you to take The Princess Diaries 2."

"I understand. Because of Garry Marshall and Anne Hathaway, you’ll take that project, no matter what."

"But..."

"That script is a disaster—an absolute trainwreck. Garry Marshall doesn’t know what he’s doing, and Disney isn’t putting much effort into it. From the characters to the story, it’s all a mess."

"There’s a difference between innocence and stupidity, but the script clearly doesn’t see that."

"I can’t stand by and watch you throw away everything you’ve worked so hard to build."

The truth was out.

Anson’s intuition had been right, but there was no satisfaction in having predicted it correctly.

Facing the reality of the situation, the harsh truth gnawed at him from the inside out.

"Captain, this isn’t how things should be," Anson said, without hiding his disappointment.

"I know every actor wants their work to succeed, forever, because those films will remain, even ten, twenty, or fifty years later. One mistake, and it’s permanent."

"But that’s not the point. The point is the experience and memories behind each project. That’s what’s irreplaceable. It’s like an adventure."

"Not every adventure will succeed, but even failed ones are valuable. The struggles with your team are precious memories."

"Movies are the same."

"What actor hasn’t starred in a bad movie or two? A career without bad films is incomplete. Even those bad films can become part of the memory, something you can look back on with a smile."

"Without Garry Marshall, I wouldn’t be who I am today. This isn’t how things should be."

Anson’s reaction didn’t surprise Edgar.

Not only was he unsurprised, he had expected this entirely, and his expression was one of frustration.

"I knew it."

For once, Edgar didn’t back down. "I knew you would take that script, even though it’s total garbage."

"That’s why I stepped in, fulfilling my duty as your agent. I rejected it for you, stopped you from making a mistake. Isn’t that my job?"

Anson shook his head. "No, you should have told me. It’s my decision to make."

Edgar replied, "If it was up to you, you’d have taken it. Isn’t that clear enough? You’re not thinking rationally. You’re acting purely on emotion, agreeing because of Garry Marshall."

"No, this isn’t you."

"I couldn’t let that happen."

"Anson, that’s a disastrous script. You’d be playing the fool in it. Disney is treating you like a prop, a clown, exploiting you. You’d know it’s a trap, and yet you’d walk right in. Right?"

"How could I tell you? I knew I absolutely couldn’t tell you."

"We worked so hard to shake off the 'pretty face' label and create a new image for you as an actor, and then The Princess Diaries 2 would undo it all, resetting everything to zero? I can’t let that happen."

"Yes, you’re right."

"Not every adventure will succeed, and actors are bound to make bad films. Someday you might laugh at those memories."

"But do you think everyone has the privilege of laughing off a bad film experience? No. Only successful people can do that, and they’re one in a hundred."

"And the rest? They disappear from Hollywood along with their bad movies. People forget them entirely. Who’s going to listen to their stories?"

"I can’t..."

"God, I can’t watch you jump into a cesspool."

For once, Edgar was angry.

Even though he was in the wrong, he turned the situation around and exploded, pouring out everything he had to say, suppressing Anson completely.

Until—

Edgar realized that Anson wasn’t responding.

Anson had remained calm, quietly observing him, neither interrupting nor avoiding his gaze. He just listened silently, maintaining his composure amidst the storm.

That calmness made Edgar uneasy.