736-740

*Chapter 736: Only Read Three Pages*

Since films like Star Wars, Jaws, Raiders of the Lost Ark, and others solidified the concept of genre films, Hollywood has developed into a highly structured, industrialized industry over the past 20 years. Screenwriting has followed a similar path.

From the format to the font, from dialogue to notes, everything follows a template. The structure is so set that typically one page of a screenplay corresponds to one minute of film. While there may be slight variations based on a director’s style, this general rule holds true for commercial films.

As a result, the length of a screenplay can often give you a sense of the movie’s runtime. A script might range anywhere from 90 to 120 pages, and reading the entire thing is no easy task.

Let alone the fact that there were five scripts sitting in front of him.

In Hollywood, it’s a trend that, while not true for all actors, 51% of them don’t carefully read the script before signing a contract. They often delegate that responsibility to their agents, managers, or even assistants, PR reps, family members, or friends. Based on their feedback or summaries, the actors decide if they’re interested.

In other words, if an agent or manager has poor taste, the actor’s career choices could be a disaster.

Audiences often wonder why a particular actor ends up in a bizarre role in a terrible movie. But don’t be surprised—it might just be the assistant’s taste at play.

With this in mind, Edgar had already done a first round of screening and brought over a few projects worth considering.

Now?

Was Anson also planning to skip reading the scripts and hand them over to Noah?

Edgar was startled, turning to Noah, unable to hide his surprise.

This scene caused the smile on Anson’s lips to spread.

Clearly, Edgar had misunderstood.

How should Anson explain?

“Hey, Captain, I’ve actually traveled back from the future, so I only need to skim through these scripts to make a decision. No need to waste time.”

“Just give me a moment. I’ll do a quick process of elimination, and the answer will be clear.”

No, Anson didn’t exactly respond like that.

In fact, he could’ve kept the scripts and told Edgar two weeks later that he’d read them all and was interested in a particular one.

But Anson didn’t do that.

When he called Edgar over, he had already made up his mind.

“Captain, relax. This is my project, so of course, I need to make the choice myself.”

With just one sentence, Edgar calmed down slightly.

“Have you ever heard the saying, ‘You only need to read the first three pages of a book to know if it’s worth continuing’?”

Edgar paused. “Hollywood has a similar saying: A film needs a hook within the first three minutes.”

That’s why many blockbuster films often open with a small crisis for the protagonist to resolve, creating a quick high point that grabs attention while also defining the lead character, especially in crime or action genres.

“Heh,” Anson chuckled, “Yes and no.”

“If it’s just about the hook, Hollywood’s industrial system is so refined that almost every screenwriter knows this golden rule. They all set up an attention-grabbing moment early on. But a good hook doesn’t necessarily mean a great script.”

“A screenplay is like a novel. The opening pages should reveal the structure, the skeleton.”

“How is the story constructed? What’s the style, the tone, the atmosphere? These early choices often reflect the writer’s unique voice.”

“Then, look at the last two pages. Even though genre films usually have happy endings, the way it’s executed reflects the creator’s personal touch.”

“By focusing on these elements, you can quickly sketch out the characters and tone of the story. These are often the heart of a script.”

“Of course, this approach doesn’t determine the script’s overall quality, nor should it seal its fate. But it does help you gauge your interest level. From there, you can decide the order of scripts to read or whether to bother reading at all.”

Edgar still seemed a bit confused in the first half but didn’t interrupt, patiently listening to Anson. By the second half, Edgar’s eyes lit up.

Was this a rule?

Not exactly.

But it was certainly an interesting possibility.

Edgar looked at Anson. “So, you’re saying you’ll read the first three pages and the last two to make an initial judgment, then decide whether to continue?”

Anson smiled. “Exactly. This is why we need to communicate.”

“I figure, since I now have some choice, and in the future we’ll be facing many unknown options with our fates in our hands, we should sync up. We need to agree on the direction we’re going.”

“I’ll share which scripts I like and which I don’t.”

“You’ll share which scripts you like and which you don’t.”

“And we’ll explore the reasons behind our preferences. This conversation will make our future work more efficient and ensure we’re moving in the same direction.”

“What do you think?”

As he spoke, Anson lifted the scripts in his hand, signaling toward Edgar.

Edgar, his tension easing, smiled once more. “Of course.”

He paused. “To be honest, I’m curious to see what you’ll think of just reading the first three and last two pages. Let’s see if our impressions match.”

In the past, they didn’t have much choice and could only fight for opportunities. Sure, Spider-Man and Catch Me If You Can were projects they actively pursued, but that was, in a sense, also a form of choice.

Now, things were different.

They held the reins. Personal taste and vision would play a larger role. Edgar was curious about Anson’s choices, as this was a new realm where they would need to refine their communication and understanding.

So.

Edgar sat back down, eagerly watching Anson—waiting to see him read.

This too… was an experience.

In no time, Anson held up the first script.

“I don’t like this one.”

Edgar blinked. “Why?”

Anson tilted his head. “A high schooler? Again?”

Edgar couldn’t help but rub his nose. That’s the limitation of being typecast. Once you succeed in playing a certain kind of role, you get offered nothing but similar parts. Actors often find themselves playing the same role over and over.

Matthew McConaughey kept playing the playboy, Sandra Bullock was always the ditzy sweetheart, Hugh Grant played the charming intellectual.

And on and on.

Eventually, they became pigeonholed, and other roles wouldn’t even come their way.

Now, Anson was facing the same dilemma. He was probably Hollywood’s most famous high schooler, having played them in all sorts of genres and scripts, to the point where the stereotype had stuck.

In a way, it was good—at least Anson had a clear label. But it was also bad, as the same mold was beginning to stifle him.

Edgar cleared his throat, caught off guard by how precisely Anson had identified the issue. He tried to defend it, “But it’s different! Same high schooler, different feel.”

Anson glanced at the script in his hand. It was none other than The Day After Tomorrow.

*Chapter 737: The Temptation of Interests*

In 2009, a movie focusing on the Mayan civilization's apocalypse, "2012," sparked global debate, reigniting humanity's fear of the end of the world. Director Roland Emmerich seized this opportunity to break into the public eye and establish his reputation.

In fact, this wasn't Roland's first disaster film.

As early as 2004, Roland directed "The Day After Tomorrow."

At that time, discussions about the greenhouse effect, climate change, and the possibility of the Earth returning to the Ice Age were rampant. Thanks to this, the animated film "Ice Age" managed to stand out and achieve success without much promotion, reflecting the hot topic of the greenhouse effect.

"The Day After Tomorrow" was no different.

Despite its mediocre reviews, the movie grossed an impressive $550 million worldwide. If not for the lack of control over its production cost, which soared to $120 million, causing the film to be unprofitable, it would undoubtedly have been a significant work in the disaster film genre.

The somewhat awkward box office performance and poor reviews of "The Day After Tomorrow" didn't earn its two leads, Jake Gyllenhaal and Emmy Rossum, the recognition they hoped for. Both actors faced some backlash.

Jake took a risky turn by choosing "Brokeback Mountain," which many critics saw as a suicidal career move. Emmy later suffered from two consecutive box office failures, which completely ruined her big-screen opportunities until she managed to make a comeback in 2011 with the TV series "Shameless."

However, "The Day After Tomorrow" did secure Roland a place in Hollywood.

Although the disaster genre was on the decline, it still had a market, and directors skilled in making disaster films were becoming increasingly rare.

Before "The Day After Tomorrow," Roland's directorial resume consisted entirely of sci-fi films, with the 1998 version of "Godzilla" earning him considerable acclaim. But after "The Day After Tomorrow," Roland has focused on disaster movies for twenty years.

Now, the script hasn't reached Jake's hands but has landed in Anson's.

Obviously, history has undergone a dramatic change.

However, Anson has no interest.

Not because of personal preference, the movie's quality, or its box office success or failure, nor because of his friend Jake Gyllenhaal.

There is only one reason—

The protagonist is a high school student.

Edgar tried to explain.

Up until now, in Anson's works, high school students have always been an essential part of character development and a key driver of the story. But this time, it's different. The protagonist's high school student status is merely a backdrop and has no direct connection to the story. It could easily be changed to a college student without affecting the plot.

However, Anson doesn't think so.

In the script for "The Day After Tomorrow," there are two reasons why the male lead is set as a high school student.

First, he needs a father who is a climatologist and is the first to realize the impending crisis.

Second, they need a central location for the story, where all the main characters are trapped. The crew chose the iconic New York building, the Manhattan Public Library, where the male lead is stranded while attending an academic competition.

From a story perspective, the high school student identity has no relevance to the plot. But from a setting standpoint, it restricts the scope from the beginning.

And that's not the point.

"Captain."

"Captain, I thought we were trying to break away from the student image since 'Catch Me If You Can,' not just high school students but college students too."

Throwing out this statement, Anson didn't argue or debate further.

Edgar: ...

Edgar tried to argue, but the words stuck in his throat. His thoughts circled in his mind for a while, and he simply gave up.

"Sorry, I didn't consider it thoroughly."

Edgar admitted his mistake frankly.

Anson didn't push further because this wasn't about "winning" but about communication, exchanging ideas, seeking common ground while respecting differences. He believed Edgar had his considerations, as there are inevitably different perspectives between an agent and an actor.

Anson looked at the slightly dejected Edgar, "Captain, how much are they offering for the pay?"

"Fifteen million," Edgar said.

There's the answer.

Since the producers initially offered $15 million, it means there's room for negotiation. Edgar's initial reason for choosing this script was that he believed he could secure a $20 million paycheck for Anson.

If successful, that would mean joining the $20 million club.

Edgar couldn't resist the temptation.

So, Edgar took the risk of repeating the character type by choosing it.

But now, Edgar also agreed that Anson was right; they needed to look at the long term. They shouldn't disrupt their plan for a mere $20 million paycheck. They weren't Jim Carrey, who could afford to fail with a $20 million salary and not worry about his place in the industry.

Without any argument, Edgar readily admitted his mistake.

Anson caught the key point but didn't press further, shifting his attention to the next script.

"National Treasure."

This is an interesting choice.

Adventure treasure-hunting films, led by "Indiana Jones," have always had a broad market. Later on, "The Da Vinci Code" could be considered part of the same genre. "National Treasure" chose a unique angle to attract attention:

The Declaration of Independence.

The film hypothesizes that a clue to an astounding treasure is hidden on the back of the Declaration of Independence, and the protagonist is about to follow this clue to find the legendary treasure.

This is the foundation of America’s founding principles, and using such a well-known artifact to unveil a mysterious history has a certain appeal from a promotional standpoint.

In fact, legendary producer Jerry Bruckheimer thought so too. This industry veteran, who created classics like "Top Gun," "Pirates of the Caribbean," "The Rock," "Bad Boys," and "Black Hawk Down," was immediately attracted to the script, showing incredible enthusiasm and positivity.

He not only persuaded Disney to invest but also spent tremendous effort communicating with places like the Lincoln Memorial and the National Archives to secure on-site filming.

For the general public, it's the same. Many movie enthusiasts remember this work, and Disney even released a sequel three years later.

However, reality and ideal have a slight discrepancy.

This film, led by Nicolas Cage, encountered severe budget issues. Jerry Bruckheimer's insistence on filming at historic locations like the Lincoln Memorial led to significant challenges in the production schedule, ultimately resulting in a production cost of $100 million.

After its release, the film only grossed $340 million worldwide.

Disney barely made a profit of $20 million, not a failure but disappointing. However, the film performed well in the DVD rental and sales market, which eventually led Disney to greenlight the sequel.

This proves that making movies isn't that simple.

As for Anson, he thinks "National Treasure" is an interesting choice.

Actually, when the movie was released in the previous life, it was met with a wave of criticism from professional reviewers, scoring only 40 points on media reviews. Audience feedback was also mixed.

The movie managed to achieve impressive box office success mainly because of the loyal fans of the treasure-hunting adventure genre, who supported it from the theaters to DVD sales.

But Anson thinks, isn’t it fun to experience an adventure through the character's perspective? To do things you can't or wouldn't dare to do in real life.

*Chapter 738: Information Misalignment*

In his second life, Anson has always been trying to challenge different possibilities—

Adventure.

Anson hopes to turn life into an adventure, full of surprises and unexpected twists. No matter what he faces, he embraces the present with open arms, refusing to leave regrets behind, allowing life to be filled with endless possibilities.

Imagine an experience like "National Treasure." In real life, Anson might not have the chance to take on such a challenge, so why not try it as an actor? That would be perfect.

Maybe the only obstacle is his age.

"National Treasure" is a typical Hollywood genre film, with a male lead usually between thirty-five and forty-nine, targeting the mainstream consumer market of that age group.

So, the lead actor in the previous life was Nicolas Cage.

But now, replacing him with a twenty-year-old Anson?

If not careful, it could turn into a teenage version of "Spy Kids."

However, this is not something Anson needs to worry about. The character's age in the movie doesn't affect the narrative; whether twenty or forty, it's the same.

Negotiations can be handled by the agent and producers.

Thus,

Anson temporarily places the script in a separate spot from "The Day After Tomorrow."

Edgar noticed this and, feeling a bit relieved, regained his professional demeanor. "This project is worth considering. Disney is very enthusiastic about it, even more so than producer Jerry Bruckheimer. The script came directly from Disney."

"I looked into it. It seems that the suggestion came from Disney executives, having you and Annie as the leads. They want to explore another possibility besides 'The Princess Diaries.' It appears they are very satisfied with the performance of 'The Princess Diaries.'"

Executives?

Anson was slightly puzzled. If he remembered correctly, the Disney executives weren't pleased with his appearance at the "Princess Diaries" premiere.

"If the collaboration is successful, I think they'd be willing to build the entire production around you. This is a positive sign."

Anson neither agreed nor disagreed. "That would depend on the filming schedule and release date of 'The Princess Diaries 2.' If our films with Annie are released consecutively, the media might label us as an on-screen couple, but we both would struggle to shed the teen tag."

In other words, the schedule needs to be considered.

Edgar thought for a moment and nodded. "Alright, I understand."

Next, Anson picked up the next script, but he only glanced at the first page before looking up at Edgar, without even reading it seriously.

A smile appeared on Edgar's face. "This is a rare opportunity."

Anson shook his head slightly. "I don't think so."

"Twelve Monkeys" was the famous project in Anson's hands.

In 2001, the star-studded crime film "Ocean's Eleven" became a sensation. George Clooney, Brad Pitt, Matt Damon, and Julia Roberts formed an all-star lineup. The eleven characters, known as the eleven thieves, pulled off an impossible heist, garnering rave reviews and attention.

Of course, there was also the box office.

Everyone thought this star-studded movie was a one-time project, but Warner Bros., with its deep pockets, unexpectedly gathered the original cast, adding another superstar to create "Ocean's Twelve."

Without reading the script, it's clear they invited Anson to be the twelfth thief.

This was why Edgar was excited. Anson would be able to join a group of superstars, and regardless of the pay, his industry status would skyrocket.

But at the same time, it was also why Anson was calm.

Judging by the past, "Ocean's Twelve" did indeed expand its star lineup. The addition of Vincent Cassel and Catherine Zeta-Jones made the film shine even brighter.

However, they played competitors, pitting them against the eleven thieves. None of them were the twelfth thief. The true twelfth thief was Julia Roberts' character from the first film.

Of course, Anson didn't mind playing the villain. Always playing the hero would be boring. A charming villain can bring much more impact; he just thought Edgar's expectations might have been misguided.

Currently, the script Anson held didn't contain the actual script but a project plan.

In other words, Edgar believed they were inviting Anson to play the twelfth thief, skyrocketing his status, allowing him to be on par with the stars, and becoming the focal point of the movie. But that's not the case.

Anson was just a gimmick, a smokescreen, a decoy.

When the time comes, this kind of psychological gap would be even harder to accept.

But how should Anson tell Edgar?

Looking up to meet Edgar's gaze, Anson organized his thoughts.

"Did Jeff Robinov give you this project?"

From their previous collaboration on "The Butterfly Effect," Anson and Jeff got along well. It was clear Jeff genuinely loved movies and appreciated Anson, looking forward to working together.

Anson believed Jeff sincerely hoped Anson could become the twelfth thief, eagerly anticipating their first collaboration.

But there was a problem.

Someone like Jeff, a high-level executive, usually focuses on the big picture but doesn't have the time or energy to follow every detail. Specific projects are left to the respective producers, and the minutiae are not within their purview. Hence, there's an information gap here—

Between executives and producers.

Just like the saying "the county magistrate is not as good as the current manager," or in other words, "policies from above, countermeasures from below."

Edgar sensed something unusual. "I thought you and Jeff were friends?"

Anson chuckled softly. "At least we haven't had dinner or drinks privately."

In a society driven by interests, the definition of a friend isn't that simple.

"Of course, we're not enemies, and I'm not doubting Jeff's intentions. I believe when Jeff pushed for 'Ocean's Twelve,' he did think of me."

"But, Captain, you should know who the real core of this project is."

George Clooney.

From director Steven Soderbergh to co-star Brad Pitt, the entire crew was assembled by George Clooney.

Initially, it was just an idea to remake the 1960s film of the same name, intended as a low-budget project because the main characters were a bunch of petty criminals, the "Rat Pack."

It wasn't until they met George Clooney that everything changed.

Edgar was a smart man and immediately made the connection.

Originally, the film wasn't going to have a sequel because George Clooney wasn't interested in making one.

During the movie's Rome premiere press conference, a reporter's question inspired director Steven Soderbergh. He loved the Italian atmosphere and got some ideas, then persuaded George Clooney.

When George agreed, they got a sequel.

And George has solid friendships with Brad Pitt and Matt Damon. Clearly, Anson's relationship with these two is a bit awkward.

Edgar was taken aback. "Are you saying George might not want you to join?"

Anson shrugged lightly. "I won't overestimate myself; maybe they didn't even consider me. But what I mean is that Hollywood has no shortage of superstars. It's not like I'm irreplaceable. Jeff's idea is good, but not unique. He and George might not share the same thoughts."

*Chapter 739: Not Exactly Friends*

Knock, knock.

Edgar's fingertips gently tapped on the tabletop as his thoughts rapidly raced through his mind.

Then, his fingers stopped.

"Is your relationship with Brad Pitt really that bad?"

Anson shrugged lightly, "I can't tell you for sure because it's not up to me. But after everything that happened, I strongly doubt Brad sees me as a friend."

Pausing for a moment, he added,

"Same with Matt. We're not enemies, but... not friends either."

It's a bit complicated to explain.

It's not that George Clooney would necessarily oppose Anson being in the movie, nor that Brad Pitt and Matt Damon would deliberately make things difficult for him. It's just that Jeff's grand vision might not align with George's plans.

That's how Hollywood works—if it's an unavoidable job, like walking the Emmy Awards red carpet, they'll put on their best faces and play the part together.

But if it's not, top-tier actors have their own preferences and quirks. They'd rather avoid working with someone if it means swallowing unpleasantness.

"Ocean's Twelve" falls into the latter category. George gathered a group of close friends, half working, half vacationing. They wanted to keep the mood light and fun.

So, with so many top actors in Hollywood, does George really need to risk disrupting the crew's atmosphere to invite Anson for this role if it's not absolutely necessary?

Or, even if George is open to Anson joining, is he willing to change the plan and give the twelfth spot to Anson?

Plus, from a promotional standpoint, if Anson were to join, given his current popularity, almost every audience member would assume he's the twelfth "Ocean's" member. Wouldn't that spoil the surprise? It wouldn't be as exciting as Julia Roberts being the hidden twelfth member.

From every angle, Anson is an option, but not the best one.

But all this is just speculation, based on the available information.

So, Anson looked at Edgar, "How about you talk to the producer again to clarify the role?"

"Hey, Captain, if they need me, I'm totally free right now, no scheduling issues."

Since there's no set plan for the next project, with "Spider-Man 2" and "The Princess Diaries 2" both in early stages, Anson's schedule is currently open.

Edgar didn't argue further, just nodded to show he understood.

On the contrary, Anson sensed Edgar's disappointment and offered some comfort, "Whether it works out or not, the fact that I caught the attention of their crew is already a breakthrough. After all, it's George Clooney and his pals."

This little joke brought a smile back to Edgar's face.

Then, Anson flipped through the last two scripts.

Somewhat surprisingly, both were love stories; but on second thought, it wasn't surprising at all. Edgar's strategy was pretty clear.

A hypothesis: if Anson has already broken the stereotype of being a high schooler through "Catch Me If You Can"—and it's just a hypothesis since they don't yet know the market's response—the chance to test if the general public accepts different versions of Anson is the next project.

"Elephant" still has him playing a high schooler.

"The Butterfly Effect," on the other hand, is about a college student.

Naturally, the selected works ahead will be crucial.

So, when Anson rejected "The Day After Tomorrow," Edgar didn't argue. Likewise, choosing "National Treasure" and "Ocean's Twelve" was about shifting towards adventure/crime genres, the most popular type of films right now.

Finally, there's the romantic film, which makes full use of Anson's physical appeal, further advancing his image as a "dream lover."

If the movie is a box office hit, it means Anson will shed the student image and establish himself as an adult heartthrob, opening a new world of possibilities.

Different choices mean different future paths.

"National Treasure" or "Ocean's Twelve," both count as crime/adventure/action films, paving the way for Anson to take on more commercial blockbusters, including but not limited to action, sci-fi, adventure, and disaster genres.

Romantic films, however, lead down a different path, focusing on comedy, romance, drama, and mystery.

Of course, this is just a general tendency and not an absolute division. Once an actor expands their range, they can jump between genres, like Tom Cruise or Will Smith, who can be both action heroes and romantic leads.

But!

There are always preferences, because each time an actor steps out of their comfort zone, it means taking risks and challenges, facing the possibility of failure—

Sandra Bullock's attempts, for example.

As for Edgar, he personally leans towards Anson choosing the romance genre.

The reason is simple: it's about the Academy.

In Hollywood, action movies are quickly labeled as all brawn, violence, and simplicity. It's not that these movies aren't exciting, but they test the actor's physical skills more than their acting chops. So while the Academy members might enjoy them in theaters, they're less likely to vote for them at the Oscars.

There are exceptions, but breaking this prejudice is incredibly tough.

If it were just "Spider-Man," Edgar wouldn't have so many thoughts. But "Catch Me If You Can" and "The Butterfly Effect" made Edgar see more potential.

Edgar had an idea in mind that he hadn't shared with Anson, to avoid putting unnecessary pressure on him:

Tom Hanks.

Edgar believed Anson could follow a similar path to Tom Hanks.

In his younger days, Hanks was also a "boy next door" from youth films, starring in a series of comedies and romantic films—"Sleepless in Seattle" being the most famous. But at the same time, he also shone in drama, history, and biographical films, showcasing his acting talents and winning over the Academy.

Actually, romance and comedy need to be broken down further. Under the big categories, there are countless sub-genres, and they're equally looked down upon by the Academy. Comedy, especially, is often associated with clowns, idols, and eye candy, not exactly flattering labels.

Not everyone can become the next Tom Hanks.

Still, Edgar painted a blueprint in his mind.

Today, he brought Anson five scripts, each with its own significance.

That's why, when Anson asked Edgar to stay for further discussion to reach a consensus, Edgar gladly stayed.

Indeed, they needed to talk about the next step, to make the most of the current advantage and take control, planning Anson's career.

Among the five scripts, two were romances.

And they weren't just any romantic scripts. Edgar had carefully chosen them, and they immediately caught Anson's eye—a testament to Edgar's keen sense in picking the gems.

One was "50 First Dates."

The other was "Eternal Sunshine of the Spotless Mind."

*Chapter 740: Dream Lover*

If there weren't the advantage of reincarnation, the aesthetic taste of both the agent and the actor would be crucial. In the sea of projects in Hollywood, choosing the right scripts and planning a career path requires wisdom and strategy—and taste. You can't lack any of these elements. That's why top superstars are one in a million.

For this reason, actors and agents need to get in sync. Sometimes, an agent's poor taste can ruin an actor's opportunity. Burt Reynolds, a two-time Oscar nominee for Best Supporting Actor, was the first choice for Han Solo in the "Star Wars" series. However, his agent deemed it a bad role and turned it down citing scheduling conflicts, which ultimately led to Harrison Ford's rise.

Other times, it's the actor's own limitations that cause them to miss golden opportunities. Sean Connery, the original James Bond, became interested in science fiction in the late '90s. His agent gathered a bunch of scripts for him, including "The Lord of the Rings" and "The Matrix." However, nearing seventy, Sean didn't choose any because he "couldn't understand them."

Similar cases happen daily in Hollywood.

Russell Crowe turned down "Wolverine" and recommended Hugh Jackman to the team instead.

Tom Cruise was the first choice for "Iron Man" for nearly a decade, but he believed the project was destined to fail, so the team eventually went to Robert Downey Jr.

Denzel Washington thought "Se7en" was "too dark and evil for anyone to like," which led to Brad Pitt's iconic performance.

Examples like these are why people always say hindsight is priceless.

Now, Anson needs to get in sync with Edgar. This is a whole new challenge.

Although Anson has memories of the next twenty years, he needs Edgar to help him find the movie projects he's interested in.

Looking at these five scripts, Anson can glimpse a corner of Edgar's aesthetic, which surprisingly aligns with Anson's personal taste.

This is a positive start.

"50 First Dates," a purely simple romantic comedy, tells the story of a man who falls in love with a woman with short-term memory loss.

The female lead, due to a car accident, suffers from short-term memory loss and forgets everything that happened the day before each morning. So the male lead must make her fall in love with him anew every day.

In real life, this might drive someone to the brink and lead to a breakup. But movies are movies, and approaching this from a comedic angle brings a different feel. Each encounter becomes a fresh start, like a first love, falling in love over and over again—a portrayal of romance at its peak.

In twenty years, in an era when people no longer believe in love, such movies have disappeared. But in the early 21st century, "chick flicks" still have a broad market, and such films can even be called a different form of pure love.

In its previous life, the movie starred Adam Sandler and Drew Barrymore, both frequent faces in comedy films. Adam, in particular, has been playing the same clumsy yet funny character for thirty years. Because of Adam, the film fell into the stereotypical "Adam Sandler movie" category, with comedy outweighing romance, so professional critics' ridicule was to be expected.

Critics' score: 48.

Clearly, its quality was unsatisfactory.

But the audience bought it.

Regardless of its reputation, many viewers found it a film that made them believe in love and yearn for it—a success in its own right.

In the end, the movie grossed nearly $200 million worldwide. However, due to Adam's high salary, the production cost was nearly $75 million, so the movie didn't make money and actually lost.

However, the plot twist is that Sony Columbia made a big profit through DVD sales and rentals, proving the market potential of romantic comedies once again.

In Edgar's view, this script could establish Anson's image as a devoted lover, and a handsome guy being funny can always win more women's hearts.

And from Anson's perspective, the value of this project lies in the opportunity to challenge comedy—

After having a taste of drama in "The Princess Diaries" and "Catch Me If You Can," he could genuinely challenge comedy, exploring his comedic side. Undoubtedly, it's an adventure, an exhilarating and thrilling adventure.

This idea isn't bad.

Provided there's no other script.

"Eternal Sunshine of the Spotless Mind." At first glance at this movie title, people often scratch their heads, unable to grasp what the film is about. In fact, there's some trivia behind this name.

This script is the work of Hollywood's maverick screenwriter Charlie Kaufman, who delivered a mind-bending narrative structure in "Adaptation" this awards season. His script left audiences dizzy. Beyond that, his body of work includes "Being John Malkovich," "Confessions of a Dangerous Mind," "Synecdoche, New York," and "Anomalisa," among others.

Charlie Kaufman is a screenwriter who loves philosophical reflection and exploring the value of memory, self-existence, and more. His scripts are often mind-bending while leaving audiences in a fog.

"Eternal Sunshine of the Spotless Mind" is arguably his most perfect balance between art and commerce, philosophy, and popular appeal.

The movie title, when translated directly from English, means "Eternal Sunshine of the Spotless Mind," inspired by a poem by the English poet Alexander Pope, which was based on a 12th-century French love tragedy.

Such a literary title, after translation, was based on a poem by Eastern Han poet Cui Yuan. During the process of its transmission, the word "暗" (dim) was misrecognized as "暖" (warm), and gradually "暖暖内含光" (Warmly Contains Light) became the familiar title.

Accurately speaking, "暗暗内含光" would better align with the ambiance conveyed by Charlie Kaufman's original movie title, "Eternal Sunshine of the Spotless Mind."

This movie tells the story of a couple who have been in love for years. One day, the man discovers his girlfriend has no memory of him. Upon investigation, he learns she erased all their memories at a clinic. Heartbroken, he also goes to the clinic to erase their memories, only to regret it as the memories fade away, desperately trying to hold onto their past.

The movie uses a unique method to depict the collapse and fading of memory, while also providing different perspectives on relationships and the value of memory, once again showcasing Charlie Kaufman's boundless imagination as a screenwriter.

The so-called "eternal sunshine of the spotless mind" refers to the eternal ray of sunshine in a perfect memory that can illuminate happiness in the depths of memory. Perfection isn't necessarily perfect; that ray of sunshine is.

Life shouldn't only consist of happiness; pain and joy are equally worth cherishing.