606-610

*Chapter 606: Treating the Root Cause*

"Sigh."

"We’re all at a bit of a loss right now, so one by one, we’re hiding in the trailer, sneaking glances at what’s happening outside, like Eskimos."

Chris couldn't hold it in any longer, and the words slipped out of his mouth before he realized it. He paused a moment too late, then turned his head to make sure Brian was nowhere in sight. He looked up at the sky and let out a long sigh of relief.

Sigh.

Anson looked at Chris and chuckled softly. "You sighed again just now."

Chris was taken aback.

Anson immediately understood. "It seems things are worse than we thought."

Chris instinctively sighed again. This time, he noticed it, paused for a moment, and then shook his head with a helpless expression.

"I'm not sure if 'worse' is the right word, but we’re definitely stuck. I’m not sure what I’m doing or what I should be doing."

"The director..."

Chris thought seriously.

"He seems to have a lot of ideas, but also none at all. I’m not sure if he actually knows what he wants."

"During the filming, he keeps feeling that something isn’t right, but he has no clear idea of how to fix it."

"So every time we ask, no one gets a definite answer."

"The result is that none of us know what we’re supposed to do. Standing in front of the camera, I feel like I’ve never acted before."

Chris smiled apologetically as he spoke.

"Sorry, I don’t even know what I’m saying. None of this makes sense, right?"

Anson’s lips curled up slightly. "No, no, I get it."

Chris looked surprised, clearly not believing him.

Anson chuckled softly—

He had just watched Brian direct a group of extras down the stairs and had a feeling.

Anson believed Brian probably had a rough outline of the story and characters in mind, but it was very vague and abstract, lacking a clear picture, so Brian had to keep experimenting and figuring it out.

Otherwise.

It was just a simple shot of extras walking down some stairs. Could the director really make something extraordinary out of it? This wasn’t an art film, and the camera work, lighting, and composition weren’t particularly special. No matter how unique the extras’ entrance was, it was hard to see any difference. The director's outburst was truly hard to understand.

It wasn’t that Anson looked down on Brian, but Brian wasn’t Martin Scorsese or Béla Tarr. He had zero pursuit of camera work, and all his nitpicking and fine-tuning were just excuses.

Now, combining Chris's words with the scene he had just witnessed, it all made more sense.

This situation wasn’t uncommon. Not every director is like Steven Spielberg, who has a hundred percent understanding of the film he’s shooting, with every frame clear in his mind—

In fact, Steven is the exception.

Directors like Brian often lack their own cinematic language. There’s no inherent connection between the camera work—composition, lighting, movement, transitions—and the story or characters. They rely more on the script's narrative, so their interactions with actors are often less about professionalism and more about exploration and trial and error.

Moreover, similar situations can manifest in different ways. Some directors gradually confirm the image in their mind during the collaboration, some struggle and wait for inspiration to strike, while others simply use this process to assert their authority.

So, actors have different ways and possibilities to handle and respond to this.

Anson met Chris's gaze. "Maybe you should stick to your own understanding."

Chris: "??? What do you mean?"

Anson: "Act the way you think it should be done."

Chris shook his head with a look that said, "Clearly, you still don’t get it." "At first, I did perform according to my understanding, but didn’t the director say it was wrong?"

Anson shrugged. "But the director didn’t say how to make it right either."

Chris instinctively wanted to explain, but when the words reached his lips, he paused and tilted his head to think seriously: Why does this feel a bit off?

Anson tried to offer a possibility, a perspective. "Sometimes the director isn’t sure what he wants either. It’s less about nailing the details of the performance and more about finding the feel of the scene through repeated takes."

"So."

"You don’t need to stress too much about adjusting your performance for each take. Trust your instincts and act according to your ideas."

Chris: ...

Carefully pondering Anson's words, "Wait, are you suggesting we ignore the director’s instructions?" Chris’s eyes widened, his mouth hung open in shock, and he was too surprised to respond. His brain momentarily froze.

It was clear—this kid was still too young and hadn’t been tainted by Hollywood yet, instinctively treating the director’s words as gospel.

Anson’s eyes flashed with a hint of amusement, but he didn’t show it. Instead, he rephrased his advice. "We should approach it from a different angle. The director and the actors should create from their own perspectives and see what sparks fly in the end."

"That’s why the director hasn’t set a framework or boundaries. He just keeps trying, so you should think independently too."

"If you believe your performance is right, then stick with it. No matter how many takes it takes, I doubt the director will notice any difference."

Chris blinked and swallowed unconsciously: Can you really do that?

Obviously, this isn’t a good idea.

The director is the commander on set, and everyone, including the actors, needs to follow their lead. If actors just do whatever they want, it could be a disaster.

Especially for a small actor like Chris with no power or influence, clashing with the director could very well mean the end of his career.

But dealing with a director like Brian, this might actually work—

Treating the root cause.

Though Anson hadn’t worked with many directors himself, he had met countless people and was unusually mature and wise for his age in matters of human nature.

For someone like Brian, if you blunt his edge, cooperate on the surface while holding back your own opinions, you can often turn big problems into small ones and simplify things.

The key is that Brian can’t offer truly effective feedback on a professional level. What he needs is a kind of social compliance and satisfaction; simply put, as long as his desire to control the overall situation as a director is fulfilled, the actor can have more space to work professionally, even doing exactly what they want, and the director won’t object.

Then, Anson added one more thing.

"Of course, if you think your performance is off, then think it over yourself, discuss it with your co-actors, and find a way to adjust together. This could be a chance."

"You know, the opportunity to explore a performance with your co-actors isn’t something that comes around often."

### Chapter 607: Flirting Skills

Ansen's words made Chris pause for a moment. A mix of absurdity, helplessness, and confusion crept onto his lips as he smiled, “Wait, are you saying this isn’t a predicament but rather an opportunity?”

With a face that said, “I don’t know what you’re talking about, but I find your perspective very interesting,” Ansen shrugged lightly and met Chris's gaze.

Chris examined him closely, and eventually, he couldn’t hold back, “Haha.” After a brief pause, he laughed even more brightly, “Hahaha.”

In a slightly exaggerated way, one could say that ignoring the director and focusing on the actor's work, breaking free from the director's control, and engaging with the co-actors based on one's own understanding could turn a disadvantage into an advantage, becoming an opportunity for exploration.

So unconventional, so audacious, so unique.

Ansen—truly living up to his name—had a completely different attitude and perspective on things.

After laughing, Chris's first instinct was to reject the idea, as it didn’t align with his understanding of the director and the role. However, just as he was about to argue, he hesitated, giving Ansen a strange look.

Ansen remained completely unfazed.

Chris couldn’t help but smile and shake his head, “Is this how you were on Spielberg’s set too?”

Ansen didn’t hesitate for a second, “Of course not.”

Because he was so direct and straightforward, Chris was momentarily stunned, and then he burst into hearty laughter, feeling as though some of the gloom had been lifted, “Are you ignoring…”

Brian?

The sentence remained unfinished as Chris hesitated again, glancing around worriedly, concerned that talking badly about the director behind his back might get him caught. Seeing this, Ansen couldn’t help but sigh deeply—Hollywood was indeed a deep pool, and he was fortunate not to have encountered any troublesome sets yet.

Ansen shrugged lightly, “I’m just seeking the right way to collaborate.”

He looked utterly sincere.

Ignoring? No, no, no, Ansen had no intention of ignoring Brian. Even if Brian was not particularly skilled, being able to become a director, secure investment, and create job opportunities meant he had his own strengths. Ansen firmly believed this was about adjusting, communicating, and exploring a collaborative method.

After all, in the end, they all hoped to complete a project together.

“I’d love to ignore him, but I’m not Tom Hanks just yet.” Ansen continued nonchalantly, with a casual expression mixed with a hint of irony and sarcasm, which Chris immediately understood.

Chris wasn’t Tom Hanks, but Brian wasn’t Steven Spielberg either.

A smile crept onto Chris’s face, and the tension in his mood relaxed slightly. He took a deep breath, “I’ll give it a try.”

Having made a decision, Chris’s shoulders visibly relaxed.

“Anyway, we don’t have a better option right now. All the actors are avoiding the director, and the atmosphere on set is downright terrifying. We were just worrying about how to handle the next scene.”

“Actually, the last scene was a mess. The director already gave us a serious scolding, and we’re all saying that the extras were dragged down by us—they didn’t do anything wrong.”

“We tried to communicate with the director, but any attempts at communication seem ineffective; it’s all just emotional outbursts. We don’t know what to do.”

“Sigh.”

“Oh, I sighed again.”

Chris turned to Ansen, his eyes full of helplessness.

Ansen said seriously, “This is the burden you actors bear.”

Chris: “You actors?” “Wait, aren’t you an actor too?”

Ansen waved his hand lightly, “No, no, no, I’m just a pretty face, a body. I just need to stand in front of the camera.”

Chris burst out laughing, “Hahaha, Ansen, you’re hilarious.”

With a deeply mysterious expression, Ansen accepted Chris’s compliment, which only made Chris laugh even more joyfully.

When they reached the trailer, all the other actors had already stepped out. Regardless of their opinions about Ansen, there was no denying that he was the hottest actor this summer, with his fame now rivaling Leonardo’s. One by one, they all came out to join in.

Looking at the bustling crowd before him, Ansen couldn’t help but feel amused—

The stark contrast between the cold reception from the general public outside the set and the warm welcome from the professionals within the crew highlighted the different faces of the fame game in various ways.

Small talk, pleasantries, and superficial conversation, nothing more.

Amidst the monotonous and predictable exchanges, Ansen quickly noticed someone missing:

Where was Scarlett Johansson?

Scarlett was working on this project with Chris, which was the main reason Ansen had initially decided to visit the set. However, upon arrival, he only saw one of the leads, with the other nowhere in sight.

…

Scarlett was feeling a bit down. She sat on the stairs, legs stretched out and lightly swaying, head tilted back slightly, allowing the sunlight to dance lightly across her cheeks. The bright light stung a little, causing her to close her eyes.

In the stillness, the sound of engines roaring and conversations buzzing flowed over her eardrums like a river, making the world spin dizzily, but in that spinning, everything grew quiet, the noise transforming into the sound of blood flowing and her heartbeat echoing in her mind.

“All you need is a pair of headphones to recreate ‘All About Lily Chou-Chou.’”

In the sunlight, a clear, serene voice floated over like a gentle breeze. Startled, Scarlett opened her eyes and turned to look. She couldn’t make out the face against the blinding light, only catching a glimpse of those bright eyes.

The tranquility was broken, yet she felt no irritation.

Without realizing it, a smile crept onto Scarlett’s lips, “What’s Lily Chou-Chou?”

Then, she noticed Ansen’s smile freeze slightly, as if he were thinking about how to continue the conversation, which made her laugh even more.

“Haha, sorry, I just wanted to see your reaction. That’s from a movie, right?”

Unexpectedly, Ansen spread his hands, “I almost started to doubt whether my flirting skills were outdated.”

This time, it was Scarlett’s turn to pause her smile. The two exchanged a glance, both with a glint of amusement in their eyes.

Ansen said, “So, you’re sure it’s a movie?”

Scarlett replied, “Shh. Actually, I have no idea, but I didn’t want to seem clueless, so I pretended to go along with your topic. How was my acting?”

Ansen responded, “Flawless.”

With their back-and-forth banter, both of them laughed even brighter, the atmosphere relaxing. Ansen then moved to sit beside Scarlett, only to find his long legs touching the ground, forcing him to fold his knees. As he turned his head, he caught Scarlett’s eye—

Clearly, Scarlett had noticed this too and rolled her eyes dramatically: there’s no shame without comparison. She glanced at her own legs.

“Haha.” Ansen chuckled, “So, are you sitting here alone to get some peace away from that group of high schoolers who never grew up?”

*Chapter 608: The Actor's Dilemma*

"So, are you sitting here alone to get away from those immature high schoolers and find a moment of peace?"

Men are boys at heart; compared to girls who mature early during adolescence, boys always seem to mature a bit later. In the crew, the boys’ noisy banter never quite clicks with the girls.

With just one sentence, Anson seamlessly reconnected Scarlett with the rest of the crew without the slightest hint of awkwardness.

"Hah." Scarlett chuckled again, tilting her head as she looked up at Anson. "So, you're no longer a high schooler? Mr. Peter Parker."

"Princess Diaries," "Spider-Man," "Catch Me If You Can"—in all three films, Anson played a high schooler, and even in "Elephant" it was the same. In fact, the upcoming "Butterfly Effect" would finally see him portraying a college student.

Anson was caught off guard, but remained calm. "Actually, I'm Paul."

Paul from "Friends," who was far from being a high schooler.

Scarlett blinked in confusion, taking a moment longer to realize who Anson was referring to. Feeling a bit exasperated, she remarked, "Not everyone gets your jokes, you know. It’s not the best way to make friends."

Starting with "All About Lily Chou-Chou" and then jumping to "Friends," Anson's quick-thinking made it hard for ordinary people to keep up.

Anson responded confidently, "I'd rather make friends with people who are like-minded."

Scarlett gazed at Anson, her eyes clear and direct, as if they could reflect her very image. Her heart skipped a beat, and she quickly averted her gaze, lowering her eyelids. As her mind relaxed, a ripple of loss, confusion, and doubt gently surfaced beneath the shadow of her lashes.

Anson asked, "Are you troubled?"

Though it should have been a question, it came across as a statement, so sure it seemed.

Scarlett quickly glanced up at Anson.

Anson gestured toward the direction of the crew. "The atmosphere on set isn't great."

Piecing together the situation, Brian's outburst at the extras might have just been an excuse; his real dissatisfaction was probably directed at Scarlett herself—this was clearly not an easy situation to handle.

To the general public, when Scarlett Johansson's name is mentioned, before 2010, she was known as the sultry star of films like "Match Point," "The Black Dahlia," "The Nanny Diaries," and "Vicky Cristina Barcelona," often hailed as the successor to Marilyn Monroe. After 2010, she became the unique superhero Black Widow in "The Avengers," with her image often overshadowing her identity as an actress.

However, before Michael Bay's 2005 film "The Island," Scarlett was considered an indie film goddess, with roles in "Ghost World" alongside Brad Renfro, "Girl with a Pearl Earring," "The Horse Whisperer," and her breakout in "Lost in Translation." As a child star, she always had her own understanding of acting.

And that hasn't changed.

So, when Brian and Scarlett clashed at work, it clearly wasn't something she could just shrug off.

Anson couldn't help but think of Marilyn Monroe.

During Hollywood's Golden Age, Marilyn Monroe became a symbol of sensuality, her significance far exceeding that of an actress, woman, or Hollywood star, eventually becoming a symbolic icon. People forgot that Marilyn was a thinking individual.

Yet in reality, Marilyn always had her own understanding of the acting profession and tried to break free from the labels and symbols that bound her, striving to express her own understanding of film, acting, and characters.

The Western film "River of No Return" is a typical example. In the traditional, simplistic narrative of Westerns, Marilyn sought to explore more profound issues, such as the place of women in a male-dominated narrative and the plight of the weak in the survival of the fittest. You could see that she was an actress with aspirations.

Unfortunately, Hollywood at that time did not give Marilyn enough space. Films like "River of No Return" were not only rare but also performed poorly.

Marilyn Monroe was like this, and so is Scarlett Johansson.

Whether before or after Black Widow, Scarlett has always tried to explore her own path as an actress. Beyond her external appearance, she hopes to imbue her roles with more depth. In fact, she has managed to carve out some space for herself and continues to explore her path as an actress.

But that's a story for another time.

In 2002, Scarlett was still young, with her experiences and thoughts not yet fully matured, and she couldn't see the bigger picture. Even so, failing to find her rhythm on the set of "Perfect Score" was still a blow to her, just as it was for Chris, who couldn't help but sigh repeatedly. Scarlett was also seeking some space to clear her thoughts.

At this moment, when Scarlett heard Anson's blunt question, she hadn't intended to say anything. She thought she would get angry, become irritated, or tell Anson to shut up. But to her surprise, her mood naturally calmed down.

"I... I'm not sure if I'm cut out to be an actress."

The words, unexpectedly, came out of her mouth, and the heavy stone pressing on her chest was lifted.

Scarlett felt a bit shy and reserved, worried that Anson would think she was making a big deal out of nothing, and also concerned about exposing her vulnerability to a stranger. After voicing her inner thoughts, she shifted her gaze, slightly raising her chin to look at the distant horizon, trying to hide her awkwardness and embarrassment.

Scarlett herself couldn't quite explain why. She knew she shouldn't feel this way, but this was indeed her current state—a kind of indescribable and lingering sense of loss and confusion.

And that's why Scarlett quietly left the crowd, seeking a quiet space to calm herself down. But she couldn't escape, and under Anson's gaze, she let it all out.

So, what now?

Scarlett felt a bit lost.

Then.

Anson tilted his head and casually said, "I didn't know Brian was such a weighty director."

Scarlett clearly didn't get it at first and was taken aback—

She had expected Anson to comfort her or spout some meaningless platitudes, but to her surprise, she found herself mulling over his words. A smile crept onto her lips.

Right, is Brian really that important? Does one comment from him entirely negate her existence as an actress and invalidate ten years of effort?

It wasn't a particularly significant remark, yet it lifted the gloom from her mood.

She burst out laughing.

Unable to contain it, Scarlett laughed out loud. When she turned to look at Anson again, her eyes were bright with mirth.

"Has anyone ever told you that you're good at changing the subject?" Scarlett teased playfully.

Anson shrugged lightly. "How else do you think I survive the paparazzi?"

Scarlett's smile grew even brighter, but this time it didn't last long. The smile gradually faded from her lips. "That may be true, but he is the director after all."

### Chapter 609: Studying the Role

Scarlett's mood relaxed slightly, but the problem still lingered, unresolved. Reality quickly brought her back down. "That may be true, but he’s still the director."

"It's not that he's particularly important," Scarlett added, tugging at the corner of her mouth in self-deprecation.

"He’s the director, and he has expectations for the performance and the character, but I can't meet them. That's a failure as an actor. I don’t even know what's going on in my head. When I'm in front of the camera, I feel like an idiot."

"I thought I had thoroughly studied the character, that I knew the character inside and out, but when the director criticized me, my mind went completely blank."

Scarlett paused here, the scene from the shoot earlier coming back into focus, bringing with it another wave of frustration, which was evident in the look of disappointment on her face.

Anson interjected at just the right moment, "Are you talking about the situation every actor might encounter?"

Scarlett didn’t understand. "Every actor?"

Anson nodded, "There’s a state in the world of acting where, without warning and with no way to resist, the brain goes completely blank. You can’t remember any lines, anything about the character, or the plot. You just stand there like a puppet with its strings cut."

"Almost every actor experiences this."

"Even the legendary actors from Broadway and London’s West End are no exception."

In the pre-internet era, Scarlett hadn’t heard of this happening before. She looked at Anson with eyes full of doubt, sizing him up.

Scarlett asked, "Even Judi Dench?"

Anson nodded, "Of course."

Scarlett continued, "And Laurence Olivier?"

Anson confirmed, "Absolutely."

His tone was so certain and straightforward that it left no room for doubt, causing Scarlett to pause, her internal balance quietly shifting.

For a moment, Scarlett couldn’t tell if it was because Anson was so convincing or if she just wanted to believe him so badly that she accepted it as truth.

Anson wasn’t making things up—

In the future, with the proliferation of information, the secrets of the acting world would gradually come to light. People would realize that actors aren’t infallible superhumans. They get nervous, make mistakes, forget their lines, and mess up, even seasoned veterans. But it’s precisely this margin for error that makes acting so fascinating:

A mistake can make things worse, or it can lead to something extraordinary.

Mistakes are scary, but not as terrifying as they seem. How an actor handles mistakes is the true test of their skill.

Scarlett’s understanding of the world wavered slightly. She had always believed that making a mistake meant she wasn’t good enough, leading her to doubt herself. But if every actor could make mistakes, wouldn’t that change things?

Scarlett looked at Anson, hesitating slightly, "What about you? Have you ever experienced it?"

Anson didn’t pander to Scarlett, "Unfortunately, not yet."

Scarlett rolled her eyes.

"Haha," Anson burst out laughing, "Just because it hasn’t happened yet doesn’t mean it won’t in the future; just because I haven’t experienced it doesn’t mean other actors haven’t."

"Trust me, I’m serious."

"Actors might make mistakes, and it’s okay to make mistakes. Nobody wants to screw up, look like a fool in front of the director, or stand on the Broadway stage unsure of what to do. Nobody wants to expose their weaknesses to the world. But more important than making mistakes is how you view them."

This time, Scarlett listened closely, watching Anson, waiting for him to continue.

Anson said, "Maybe some people give up on themselves, doubt their talent, and quit acting altogether, only proving others’ critiques right and missing the chance to prove themselves forever."

Scarlett silently flipped him the bird, "Ha. Ha."

Anson continued, "Or maybe they completely ignore the mistake, pretend it didn’t happen, deceive themselves, and just keep muddling through, repeating the same mistakes over and over."

Scarlett paused, chewing on his words. She hadn’t realized it, but she was starting to get curious, "What else?"

Anson didn’t leave her hanging, continuing, "Or they could face the mistake head-on, examine it, reflect on it, and explore it—not to break through, but to find their own path as an actor."

"Acting doesn’t have a correct answer. The only thing you can trust is your own intuition. Even the director can’t tell you if your judgment is right or wrong. They can decide whether they like it or not, but they can’t make the decision for you."

"In Europe, the film industry has always been director-centric. They believe the director is the soul of the film. In America, it’s producer-centric because producers determine the film's commercial aspects. But whether in Europe or America, films are ultimately presented to the audience through the actor."

"The actor is the face people see."

"So, while actors need to collaborate with the director, producer, writer, and the whole crew, in the end, it’s still up to the actor to do their work, to collaborate with themselves."

Scarlett listened carefully, her thoughts expanding with Anson’s words, and she became lost in thought.

Anson stopped there, leaving space for Scarlett to process her thoughts, glancing up at the sky, giving her time to reflect.

Scarlett was a smart girl, as Anson had noticed during their first two encounters.

In her early career, she was considered a naturally gifted actress with a unique quality—wild, raw, and unpolished, a kind of innate talent that shone without needing refinement. She had always tried to break free from the stereotypical expectations imposed by her appearance and find her own path as an actress.

The general public might only see a pretty face, but as an actor, Scarlett had always been exploring.

Now, Anson’s words had sparked a small flame in her mind.

As she pondered his words, she felt like she understood a little, but not completely, and she turned to Anson with a glimmer of light in her eyes.

"Does Spielberg know you’re such a rebel?"

A small joke.

Anson remained calm, "I’m sure he’s smarter than we think."

"Haha," Scarlett laughed out loud, giving Anson a curious look before finally giving in to her curiosity, "So how do you approach studying a character?"

After asking, Scarlett realized her question was too abrupt and too broad. She thought for a moment and then added,

"I thought I had carefully studied the character, felt confident in my performance. I knew the character’s state and emotions, understood the character’s place in the plot, and recognized the role’s significance in driving the story forward."

"But when I stood in front of the camera, the director kept telling me my performance was off."

"Oh God, I have no idea what went wrong. I tried talking to the director, but he just rambled on, which didn’t solve the problem and only confused me more. It was so frustrating."

"Could it be that my understanding of the character is flawed? How should I approach understanding the character, or rather, how do I truly become one with the character?"

Chapter 610: Opening the Imagination

At first glance, Scarlett's question seemed similar to Chris Evans', as they both faced the same director on the same set. However, upon closer examination, Anson realized their questions were different.

Chris's issue was still superficial, mainly about communication with the director. Scarlett, on the other hand, had progressed further in her understanding and exploration of acting, focusing more on the connection between herself and the character.

This wasn't surprising, considering Scarlett was about to have a breakthrough the following year. "Lost in Translation" and "Girl with a Pearl Earring" would showcase her talent to the world, and she was already on the path of discovering her own acting style.

Anson spread his hands. "Scarlett, are you sure you're asking the right person?"

Asking a vase about acting?

Scarlett picked up on the self-deprecation in Anson's words and looked down at herself. "Why don't you take a look at me?"

"Vase vs. Vase," it didn't seem to make much difference.

"Ha." This time, it was Anson's turn to laugh. But how should he guide Scarlett?

Anson himself was still exploring and far from being a teacher. He didn't believe he could provide the right answers.

But from another perspective, he didn't need to guide Scarlett. Instead, discussing and researching acting with her was a valuable opportunity for him.

Compared to working alone, learning from others was obviously the better choice. The exchange between actors often brought new insights.

So, how did Anson shape his characters?

This was a good question.

Looking up, Anson saw two women across the street, facing each other. They were obviously acquaintances, stopping to greet each other with smiles and warm hellos.

So...

Anson slightly raised his chin and gestured. "What do you think of that woman?"

Scarlett looked over, confused. "Are you about to hit on her and ask me to be your wingman?"

Anson didn't mind and replied calmly, "I don't think you being my wingman would increase my chances of success." Would other women feel threatened by Scarlett?

Scarlett felt Anson's gaze and her cheeks flushed slightly. She had been teasing him, but he turned the tables on her. Scarlett quickly glanced at Anson but couldn't see his expression clearly before feeling his meaningful gaze. She quickly looked away and continued forward, changing the subject.

"Which woman?"

Anson didn't press further. "Anyone. Just pick one and imagine her story, occupation, age, anything."

The biggest difference between shaping a character and memorizing lines was that lines were lifeless, but characters were not.

Lines themselves were just statements, maybe with an added emotion. Their power came entirely from the character and the plot.

Characters, on the other hand, were completely dependent on the actor. If the actor saw the character as a mere extra, even under the spotlight, they would remain two-dimensional. But if the actor believed the character had a story, a life, a background, even a brief appearance in the corner could make them come alive.

In "King of Comedy," Stephen Chow's portrayal of an extra was a simple and direct example.

Similarly, director Alfred Hitchcock hated method acting for the same reason. In his films, he didn't need actors to dig into the character's story and soul, just to portray a certain emotion or state. He needed actors to be like puppets in his scenes.

That's why Alfred Hitchcock favored actors with inherent charm; their appearance and looks were paramount.

Therefore, the key to shaping a character was to give them specific and vivid, real and convincing details.

The costumes in "Friends," the books and accessories in "The Princess Diaries," the camera and bookshelf in "Spider-Man," and so on, were all examples. This was the acting path Anson was currently exploring himself -

Breathing life into characters through details.

The same applied here.

The two people across the street were just passersby to Anson and Scarlett. Without paying more attention, they would be fleeting figures, disappearing into the river of their lives. But now, Anson was trying to use their imagination to give these figures flesh and blood.

Although Scarlett didn't know what Anson was up to, she stayed focused, following his words, her thoughts slowly unfolding.

As actors, they both had basic observation skills; these basics weren't difficult.

After a moment of thought, Scarlett spoke.

"The woman on the right... she looks... probably in her early thirties, but with no distinctive features. She doesn't seem like someone with a lot of stories."

Anson shrugged slightly. "Even someone without a remarkable story has their own story in their life, those ordinary stories. You don't have to worry too much, just follow your observations and imagination."

Scarlett nodded slightly, her gaze fixed on the woman, observing further. "She's wearing a business suit but doesn't have a bag, just a wallet. She probably works nearby and is out buying afternoon tea."

"Her hair ends are a bit dry, she's not wearing full makeup, and she's in flats. She doesn't seem like the type who likes to dress up. Plus, she's walking briskly, looking a bit busy, her mind probably elsewhere. She's likely a mother."

Slowly, Scarlett painted a picture of the woman in her mind. The once flat image of a passerby quietly became richer.

But Anson noticed that Scarlett's observations were still mainly focused on appearance, especially makeup and style, details women tended to notice but men often overlooked.

However, the point wasn't just about the look but about the story and roots behind it, the flesh and blood the actor gave the character. Only then could the character truly come alive.

Of course, Anson himself was also in the process of learning and growing, not that different from Scarlett.

Scarlett turned to Anson, not smugly showing off but with a hint of doubt and unease. She seemed to be waiting for Anson's response, curious about her own performance, patiently waiting.

Anson didn't say whether it was good or bad. To be precise, he wasn't planning to critique Scarlett -

This was a discussion and exchange, not instruction.

Anson looked across the street, his gaze falling on the woman on the left. He didn't rush to speak or judge but observed carefully.

It was only now that Anson realized his own progress and growth. The woman in his sight was taking on a completely different form in his mind.

Anson himself became intrigued. This was quite interesting.