541-545

Chapter 541: Breaking the Virtual and Real

When Darren Starr called him, Anson agreed almost without hesitation.

On the one hand, it is because of the memories of the previous life, obviously "Elephant" is an excellent work.

On the other hand, it is because of the actual needs. He needs to leave the recording studio temporarily, breathe some fresh air, and find different inspirations for the album.

But now it seems that Anson was wrong, and outrageously wrong.

The significance of the work "Elephant" to Anson is far beyond imagination, a key, a turning point, a starting point.

So, if someone asks Anson, is Dogma 95 meaningful?

Anson would say, yes, it is true that there are still few classics in the films born under the Dogma 95 precepts, and those vows have become shackles that bind hands and feet; but the return to the origin advocated by Dogma 95 has given art creators a chance to re-examine the film Re-examine the opportunity of the image.

This is extremely rare.

Now, more than ever, Anson is looking forward to seeing the finished product of The Elephant.

In a sense, "Elephant" should be the most important work in Anson's acting career so far, and it truly made Anson realize the joy of acting.

"...Anson."

Hearing a call from behind, Anson turned around, and then saw two big boys——

Alex and Eric.

In the film, they will play the tragic protagonists with blood on their hands.

But in real life, they appear shy and introverted.

This is also the reason why Gus chose them.

In the Columbine High School case, the two murderers committed suicide on the spot, and people have no way to explore the cause of the incident through their words. The only thing they can do is to piece together the original appearance of the incident from their computers, notes, family and friends , trying to find the reason for this tragedy.

Among them, the evaluations of the two people recalled by their family members, friends and classmates at school are somewhat similar:

Ordinary. Ordinary. Quiet. shy.

Don't get angry easily.

Although they are not out-and-out marginalized figures on campus, there is no doubt that they have never been in the spotlight.

Therefore, Gus finally chose Alex and Eric, two slightly quiet and introverted boys, to shoulder the important role of performing these two important roles.

This is very important, because the three of them, together with Anson, are the protagonists, and their performance and status will determine the quality of the entire film.

Judging from the current performance, they still haven't entered the role--

In their eyes, Anson is still that high-ranking big star, far from their schoolmates.

"Hey, Alex, Eric."

Anson greeted with a smile, and then he could see Alex jumping on the spot excitedly, unable to restrain his excitement, and he could deeply feel his joy and excitement from his body language.

Anson chuckled, "Alex, I'm real."

Speaking, Anson also pinched his arm, indicating that he was not a projection or fantasy.

Alex laughed twice, "But it doesn't feel real at all."

"God, you don't know how many times I've watched Spider-Man, I even dreamed about you, to be precise, I dreamed that I became Spider-Man."

If so, then the film was a success--

Peter Parker, an ordinary middle school student, he may be anyone or anyone around him. When the audience begins to yearn for him and hopes to become Spider-Man, the box office blowout of the movie can be foreseen.

Anson responded with a smile. He didn't talk about Spider-Man along the topic, because this is not a movie meeting, this is a movie shooting scene; and the people in front of him are cooperative actors. If the next step is to sign autographs, shake hands and take photos, I'm afraid The next shoot won't be calm.

Precisely because they are not professional, Anson needs to complete the guidance.

"Is your dream to be Spider-Man?" Anson asked calmly.

Alex waved his hands again and again, "No, of course not, although Spider-Man looks very cool, but I never thought of becoming him, when he appeared in my dream, I was also very surprised."

Anson deliberately let out a long breath, "That's great, my biggest worry is that everyone wants to be Spider-Man and take my job away, that would be a nightmare."

"Haha." Alex burst out laughing.

Anson, "So, what's your dream? Are you interested in becoming an actor?"

Alex shook his head again, showing a shy and restrained smile, "I don't think I'm suitable to be an actor, I never thought about it."

Anson was slightly surprised, "But it's different now, you got the chance, didn't you?"

Alex muttered "no" in a low voice, and then there was no further text.

He seemed to be eloquent one second, but suddenly became restrained the next.

On the contrary, Eric, who had been silent all this time, suddenly said, "Have you always wanted to be an actor?"

Anson turned his head to look.

Suddenly, Eric's cheeks turned red--

Just now, he has been watching Anson.

Eric felt a little strange. At some moments, he seemed to be looking at Peter Parker, at some moments he seemed to see Anson, and at some moments he seemed to see an ordinary student. This made his thoughts a little confused and difficult to distinguish clearly. Can't help but take a closer look.

The feeling is both subtle and weird.

Until now, I suddenly realized that my scrutiny was too direct and blatant, which made Eric a little embarrassed, and he couldn't help lowering his eyes.

Oops, I've been spotted!

What to do what to do what to do?

Eric hastened to speak to cover up.

"I mean, I, uh, we're not sure if we can be actors either, or more precisely, we're not sure what we want to be."

"Now, everyone is preparing for the SAT, and everyone is talking about college, but I'm not sure, do we have to go to college? What about after college? What major should we study in college? Then find a job?"

"Our life seems to be arranged, and we need to enter the next step at a certain stage. Everyone is like this, and there is no need to think about it at all, just step by step."

"But what if I don't want to?"

"Now I'm going to college to decide on a major, and then decide my life? I don't know. What if I choose the wrong major in college?"

"They seem to know what they want and what they are doing, and I am the only one who hesitates and hesitates like a fool. I am worried that I missed something, and I am also worried that I made a mistake."

"actor?"

"Actually, it's the same. Become an actor, and then what? I can't see the future, and I can't imagine myself appearing on the big screen."

"I'm not good-looking, and I have no talent. Will ordinary people like me be eliminated by society soon?"

The words are chaotic and fragmented.

As I talked, I became confused, there was no clear idea, I would say whatever came to mind, the erratic thoughts became more and more chaotic like a tangled ball of wool, but the thinking and exploration hidden in it were very clear.

Then, Eric raised his head, and the confusion was written on that handsome baby face, looking at Anson blankly.

"So, did you know your dream from the very beginning?"

Chapter 542: The Power of Idols

Now, Anson can understand why Gus chose Eric and Alex to play the roles.

In them, there is confusion, confusion and struggle. Like thousands of seventeen-year-old teenagers, they have many questions about the present and the future; but what is slightly different is that most children do not think deeply. They often hide those puzzles, enjoy their youth carefree, and follow the instructions of their parents and teachers to move on.

Unlike Eric and Alex, think for yourself.

Of course, they are only seventeen years old after all, and those thoughts often have no answers, like trapped animals bumping around; but even if they can't get answers, thinking can make their souls look different.

Gus caught it, so he picked them out with a discerning eye.

Then.

Eric noticed Anson's gaze, and only then realized his madness, completely out of control——

Originally, they just wanted to come to greet Anson and express their respect. If they could take a photo with Anson, shake hands and get an autograph, then everything would be perfect; but how did things get here?

"Oh, sorry."

Eric was very flustered.

"I was just talking nonsense..."

Eric wished he could dig a hole and bury himself.

Unexpectedly, Anson waved his hand, and a faint smile rose from the corner of his mouth, "Don't be nervous, I'm not a monster, I won't throw you out of the crew."

Alex and Eric were both taken aback--

Undoubtedly, such an Anson is strange.

Completely different from the fragility in front of the camera just now, at this time, he showed a kind of clarity and calmness, and the free and easy humor between the lines made the atmosphere relaxed.

Is this possible?

Even if I witnessed it with my own eyes, I still can't believe it.

However, Anson firmly controlled the situation, which calmed Eric down a bit.

Then Anson went on to say.

"If I told you that it wasn't until the scene I just shot that I finally decided that I wanted to be an actor, would you believe it?"

Eric: ? ? ?

Alex was more direct, without a second of hesitation, "I don't believe it."

Anson smiled, "But that's the truth."

"Being an actor is a dream, or a challenge, but I'm not sure if I can do it. Actually, my real dream is to be a journalist."

Alex couldn't believe his ears, his jaw dropped.

Anson shrugged slightly.

"I mean, there are indeed people who have dreams and set goals early on, and move towards the established direction unswervingly from the very beginning."

"This is very good, and it is also very rare."

"But not everyone is like this. In fact, many people spend their whole lives looking for directions and goals."

"Live and learn. I used to think that this is learning new knowledge; but this is only part of it, and it is also learning to live."

"We always think that there is a correct answer in life, and as long as we follow the correct answer, we will definitely get happiness, but one day we will understand that this is not the case."

"There is no right answer in life."

"To be precise, everyone has their own answers. Maybe for others, this is the correct answer, but it may not be suitable for you, so we need to keep exploring and learning to find our own answers."

"In this process, some people are faster, some people are slower, there is no need to panic or rush, just proceed at your own pace."

After a pause, a smile crept onto the corner of his mouth, and Anson looked into Eric's eyes.

"So, it's okay to have no dreams."

"Dreams, in fact, are not so noble and great, they are just a kind of expectation and vision, so that their lives can be tolerated."

"Actor, to be honest, this is just a profession, a slightly special profession, but that's all."

"You can try it, if you don't like it, then look for other possibilities. This is true for actors, for universities, and for all choices in life."

The voice is unhurried; the words are eloquent.

Involuntarily, Eric was completely immersed in Anson's words. Although he was still confused and confused, Anson didn't give him an answer, but his anxious and distressed thoughts gradually eased.

"Then what if I make a mistake?" Eric was startled by his own voice, completely unaware that the words just blurted out naturally.

Anson spread his hands, "Then make a mistake."

So calm.

This is the answer that Anson came up with after experiencing countless trials and tribulations in his previous life.

"Look, no one likes to make mistakes. Trust me, everyone tries to make the right choices."

"But the point is, no one can always make the right choices."

"It doesn't matter if you make mistakes, it doesn't matter if you take detours, and it doesn't matter if you take detours. Life is short but also very long. Even if you go the wrong way, you can still enjoy different scenery."

"Do you believe it? The most beautiful and unforgettable scenery in the journey is often the result of going the wrong way. The same is true in life. Don't worry about right and wrong, just enjoy the fun of life, this is the only important thing."

Eric was stunned.

Alex didn't recover at all, until tears wet his face, he suddenly realized it, and hurriedly rubbed his cheeks with the back of his hand, showing a smile again, trying to cover up his embarrassment, but he still failed after all- -

Eyes, red again.

Anson understands, he understands everything.

In his previous life, he also hoped that someone would tell him these things, but unfortunately he never did; but it didn't matter, because he fumbled all the way through bumps and bumps.

"Oh, welcome to the Oprah Show."

After finishing speaking, Anson imitated the action of tearing off the mask in "Mission: Impossible" and uncovering the "face".

One action brought the atmosphere back to joy.

Alex burst into tears and laughed like a fool.

Eric just stared at Anson quietly, his eyes sparkling with admiration——

He doesn't know if he will become an actor, and he doesn't know how to choose his next step, but he knows that this precious experience will always remain in his memory and become the most shining part of his life.

Not far away, Gus, who was preparing for the next scene, noticed this scene, he was a little distracted, and turned his head to look around from time to time.

Then.

Haha, there was a burst of relaxed laughter.

Gus could see the relaxation and comfort naturally released from Alex and Eric, looking up at Anson with bright eyes.

Gus knew that look--

idol.

The eyes that look at idols.

With the birth of "Spider-Man", Anson has undoubtedly become a new generation idol, and every middle school student should fantasize about becoming Peter Parker, even if only once.

But that's the big screen image.

Anson must try his best to maintain such an image, not only in movies but also in private. This is obviously not so easy. Just look at Christopher Reeve, the first Superman actor.

Once played Superman, always Superman, bound to such an image for the rest of his life.

However, Anson is doing well so far.

Even in the "Elephant" crew, Anson also showed the power of idols with his own charm.

Gus thought, maybe this is just the beginning.

Chapter 543: Shoot First, Then Talk

"Elephant" is wrapped.

Everything happened so fast. It seemed like just yesterday they had entered the set to prepare for filming, and in a blink of an eye, they heard the director announce the end of all filming for the movie.

This feeling is accurate.

In fact, the filming period for "Elephant" was only a mere five days; even if you add the time Anson and Gus spent experiencing and researching the school beforehand, the entire production cycle was less than ten days at most.

Quick and decisive.

Five days.

In the "Spider-Man" crew, it's unimaginable. They might not even have time to set up a scene, and "Elephant" would already be wrapped.

Although they knew that independent films were concise and the entire working mode was completely different, after experiencing it firsthand, they couldn't help but marvel.

Undoubtedly, this was Anson's fastest shoot so far.

Moreover, this film itself was quite special. Gus tried to capture those ordinary daily routines, and the filming work seemed no different from real life. The short five days were barely different from his previous school life, and the days with and without filming were vastly different.

So when Gus announced the wrap, it didn't feel real at all.

"It's over."

"Kids, it's all over."

Gus used a megaphone to make the announcement, ensuring the entire campus could hear it.

The last scene, the last shot, was still typical Gus.

Harris carried the camera, quietly wandering and lurking in the school corridor like a deep-sea submarine, moving along the corridor, classrooms, and activity rooms.

No close-ups. No medium shots. No pauses.

Silently surveying the entire space.

Of course, it wasn't just any space, but a space after a massacre, with no survivors, corpses scattered everywhere, and blood splattered all over.

There were no close-ups because Gus didn't intend to highlight any main character; all students were treated equally.

The entire journey was a panoramic display, presenting vastly different scenes from the same calm perspective. The contrast could be felt without the need for words.

For two-thirds of the film, the scenes were full of vitality, but now they fell into a deathly silence. Everything came to an abrupt end without warning, simply and crudely pressing the pause button. The film's theme was abundantly clear.

The impact naturally occurred.

However, Gus himself hadn't yet confirmed whether he would end the film with this long take.

In terms of echoing the beginning and end, such a shot aptly concluded the film. The criticism and accusations could be expressed without words. But Gus's hesitation lay precisely here:

Should he really present the criticism and accusations so bluntly?

Wouldn't that seem superfluous? Or would being too direct make it seem clumsy, as if he was afraid the audience wouldn't understand the message conveyed in the film, so he needed to emphasize it again with a long take at the end?

Just like Gus's evaluation of Anson's performance.

It was correct, indeed correct, from any angle of analysis. But by returning to the traditional Hollywood narrative套路, even if it wasn't the genre film routine but the unique routine of Sundance independent films, would it excessively destroy his original natural conception?

Perhaps the film should have a cleaner and crisper ending, without the director repeating what was already said in the film through camera language.

Gus needed to calm down and think.

But thinking was one thing, and shooting was another.

They could shoot it now and decide whether to use it during post-editing. After all, if they shot it, they could freely decide whether to use it, but if they didn't have the raw material, it would be too late to reshoot later.

So, the entire crew mobilized. Everyone who had participated in the film's shooting in the past five days was called upon to complete the most magnificent scene in the entire film.

The students "fell" into pools of blood one by one according to the plot, and the entire campus fell into silence. The vibrancy was thus devoured by the haze.

The desolation of death and emptiness conveyed in the long take was more powerful than any words, any music, any performance.

But at the same time, the shooting was not difficult at all because the actors didn't need to act. It was entirely controlled by the director. This was a shot to showcase the director's ability, which meant the actors could relax and immerse themselves in the filming.

Until Gus finished shooting and announced the film was wrapped.

The students sat up from the pools of blood with various expressions.

There was excitement, confusion, thrill, loss, joy, and reluctance.

No one was an exception, exchanging puzzled looks with each other.

Obviously, from any perspective, filming a movie shouldn't be like this. It was completely different from what they had imagined, to the point that even after the shooting ended, they were still unsure:

Did we really make a movie?

This scene made Anson's smile widen slightly, and he couldn't help but turn to look at Gus.

Anson was a survivor. He left the school with Eric's warning and escaped the disaster. Naturally, the last scene had nothing to do with him.

"Director, how is it? Do you have a feeling now?"

Gus shook his head slightly. "No, still not sure."

It was no secret in the crew that Gus had been hesitant about whether to shoot the last scene until the last moment.

Gus paused for a moment, then turned to look at Anson. An idea popped up. "What do you think?"

Anson didn't hide his surprise. "Me? Director, are you sure?"

Gus chuckled. "No, I'm not sure, but I still decided to hear it."

The advantage of a small and focused independent crew was its smooth operation and agility, but the disadvantage was that everything relied on Gus. When Gus hit a creative bottleneck, there was no one to discuss with, and he had to think on his own.

As Gus said, he wasn't sure if discussing with Anson was the right choice. As an actor, Anson had shown outstanding ability in the short five days of filming. But filmmaking wasn't just about acting. The director and the actor were two completely different positions. Gus still didn't trust Anson enough to initiate such a conversation.

But he had nothing to lose, right?

Anson looked at Gus's smile, clutched his chest, and let out a wail as if injured. But then, Anson continued along the topic.

"I don't think this segment is necessary."

Gus was waiting for the next part.

However, there was none.

Gus looked at Anson with a bewildered expression.

Anson spread his hands. "I'm just expressing an opinion, an intuition, an inspiration. That's my view."

After a beat, Gus realized that Anson was getting revenge.

But, revenge?

Gus was slightly taken aback, and before he knew it, a smile had crept onto his face.

This should be the difference between Anson and River Phoenix.

Such confidence and flamboyance couldn't be seen in River. Behind his fragility and sadness hid a touch of tenacity and stubbornness, which was a good thing. Moreover, Anson's flamboyance wasn't annoying at all.

Then, without pausing, Anson continued.

"Director, the title of this film, 'Elephant,' why is it called that?"

A unique entry point brought different thoughts.

Chapter 544: Artistic Exploration

The film's title?

Gus was slightly surprised because contemporary film titles were becoming increasingly straightforward to adapt to the faster pace of life, trying to avoid making the audience think. Only a very small portion of films still put effort into their titles, directly resulting in:

No one cares.

Since the film's inception, this was the first time someone had asked Gus about the meaning of the film's title.

Although it was absurd, it was the truth.

Gus couldn't help but take another look at Anson, his thoughts pulled back. "Alan Clarke, do you know this director?"

Anson shook his head. "Sorry, it seems I still have a lot to catch up on."

Gus waved his hands repeatedly. "No, no, it's completely normal that you don't know him. This British director isn't widely known, and his works have low exposure."

"You mentioned Wong Kar-wai last time. In 'Fallen Angels,' there's a scene where a killer goes on a rampage in a mahjong parlor. That sequence is impressive, the shots filled with a sense of impending violence and blood."

"That sequence was inspired by this Alan Clarke."

Anson slightly raised his chin, a bit surprised because he really had never heard of Alan Clarke, let alone that his directorial style had influenced many later directors.

Gus could sense the focus in Anson's eyes and couldn't help but become excited himself.

"In 1989, Alan Clarke made a 37-minute short film, 'Elephant,' which can be considered groundbreaking in its exploration and use of the Steadicam."

"In his films, the camera often closely follows the protagonist, who could be anyone. In the short film 'Elephant,' the protagonist is a murderer."

"In the opening, the camera follows a man breaking into a building. As the audience follows his hurried and hasty footsteps, they slowly realize he's probably looking for someone. But after searching almost the entire building, they don't see anyone until he finds his target in a utility room. He pulls out a gun, decisively shoots the person, and then turns to flee."

"The camera then cuts back to the crime scene. The silent畫面maintains a calm, observational perspective. We know it's a homicide, but we don't know the relationship between the killer and the victim, nor the context of the events."

"Violence is often impactful, and violence without reason is even more so."

Words were just words, but imagination could create images.

Anson looked up at Gus, whose eyes sparkled with excitement. "Director, this shot... is 'The Bourne Identity' also of this style?"

Gus: ? "I haven't seen the film you're talking about."

Anson: "Ah..."

"The Bourne Identity" was released this summer. The camera that closely followed the protagonist throughout the film was generally described as "handheld tracking," but now it seemed to be a typical Steadicam shot, sticking close to the protagonist's back and the back of their head in a handheld, tracking manner, creating a sense of dislocation and first-person perspective, producing an immersive and thrilling viewing experience.

After its release, the film received critical acclaim and became a unique series in the wave of spy films that swept the globe since the millennium.

The visual style and camera language undoubtedly played a significant role.

With "Fallen Angels" as an example of a film with pervasive emotions and "The Bourne Identity" as an example of a film filled with tension, it seemed this director did have a considerable influence.

Anson didn't continue to interrupt Gus and gestured for him to continue.

Gus didn't ask further questions either. He was on a roll, and the words kept flowing.

"The next thirty minutes of the short film are all spliced together with the same type of segment. The camera keeps following the killer, walking between different buildings and streets, finally committing the next crime."

"We can sense the impending violence but don't know when, how, or at whom it will be directed."

"This short film sparked a lot of controversy at the time. Was such a pure display of violence really necessary? Wasn't it another kind of shock to morality?"

"In fact, that was the director's purpose."

Gus glanced at Anson. He could notice the concentration and enthusiasm in Anson's eyes. Without words, it made Gus excited, speaking more and more energetically.

This was the first time he had seen Gus like this.

"Showing violence is essentially opposing violence."

"We need to understand the background of this film and the director's source material - The Northern Ireland conflict."

"Violence under ethnic integration, all this violence is without reason, without interpersonal relationships or cause and effect, a pure opposition of stances, venting that grand hatred onto helpless individuals, a pure hatred."

"The eighteen cases in the short film all come from real events that happened in Belfast. The director adapted and artistically created them based on police reports, using a tragic way to make people look at the elephant in the room."

"It's always been there, but everyone pretends not to see or hear it. Crimes keep happening, hatred keeps spreading, destroying the social structure in a devastating way, but no one cares."

"So."

"Rather than saying it's using a calm and objective approach to reproduce crimes, it's more like using a brand new approach to question the destruction that violence brings to us and society, destroying everything in an unpredictable and unreasonable way."

"It can create a powerful destructive force, both in terms of audiovisual senses and morality. In essence, this is a work that opposes and condemns violence. The director deeply abhors violence."

"We need to pay attention, we need to listen."

"Otherwise, this violence won't stop."

"Heh. Those people say a film that promotes violence may incite more crimes. But the reality is, violence is already happening without films. If more people don't see and hear it, if the system doesn't face the problem and provide solutions, violence will continue to destroy the foundation of society."

Rambling on and on.

Towards the end, Gus couldn't stop himself. At this point, it was clear that Gus had put a lot of thought into making this film, contemplating death, violence, and life.

Anson's eyes showed a hint of understanding.

"So, the director's work is also called 'Elephant,' and the inspiration comes from this director Alan Clarke?"

Gus nodded. "Alan Clarke passed away regrettably shortly after filming that short film, so he couldn't defend his work. But we should look at Northern Ireland in the past few years, and everything proves his foresight."

In fact, not only Anson, but Gus was also surprised by his own behavior.

Gus liked to discuss films and often did so with Matt Damon and Ben Affleck, but he rarely lost his composure, unable to stop once the floodgates of words opened.

So, what was the reason?

Involuntarily, Gus looked at Anson again.

Anson was sincere.

When the other person spoke, he always maintained focused eye contact, not only listening attentively but also often showing contemplation. The depths of those blue eyes seemed to be exploring and extending. Unconsciously, the words continued to flow endlessly.

Thus, the conversation became a pleasure.

Chapter 545: Summer's End

Gus was slightly taken aback: How did things get to this point?

Where was the supposed "vase"? Where was the supposed "big star"?

The Anson in front of him was a bit off.

Gus looked at Anson, who seemed to sense Gus' confusion. Even before Gus could speak, he took the initiative to bring the conversation back on track.

"That's what I thought too. The elephant in the room is clearly there, but no one talks about it until one day, the elephant gets angry."

"That's why the film uses this title."

As Gus spoke, he had already forgotten the beginning of the topic, but Anson hadn't.

"Since the film's title itself is a metaphor, it shows that the director wants to use the film to initiate a conversation. It's not some kind of chicken soup for the soul, nor does it need you to be preachy. Present the problem, and leave the space for thought to the audience."

"Just like Alan Clarke."

"Therefore, the long take at the end is naturally unnecessary."

"Firstly, this long take is different from any of the previous ones. The previous ones were from a subjective perspective, each shot had a protagonist, maybe me or maybe Eric. But this shot has no protagonist. It's the director's perspective, or rather, God's perspective."

"It not only disrupts the artistic conception of the entire film but also brings out a didactic tone."

Gus: This!

The switch from subjective to God's perspective! No wonder he had been feeling strange, sensing something was off but unable to pinpoint it.

"Secondly, if someone doesn't understand the message conveyed by the entire film, even adding this impactful long take at the end won't make them understand."

"And those who can understand it, don't need this ending to understand it either."

"So, adding such an ending, in my opinion, is completely unnecessary. Just like the film's title, it's a creative stance."

After going around in circles, Anson finally delivered his conclusion in a calm and unhurried manner.

Gus chewed on it carefully, a thoughtful expression appearing between his brows.

Gus still needed some time to think about how the film should end, to organize his thoughts and consider the overall picture. Perhaps after the post-editing was completed, the answer would naturally surface. But undoubtedly, Anson had pointed out a key point and given him a new perspective.

Then, Gus looked at Anson again, suddenly becoming curious.

"What's your plan next?" This was the first time Gus was genuinely curious about Anson's future plans, not out of politeness, but sincere curiosity.

An actor like this, his every next step was worth looking forward to. Just like no one expected him to appear in "Elephant," no one could predict Anson's future direction.

Everything was like how he hadn't expected Anson's performance to bring surprises, nor had he expected Anson's understanding of film to refuse to stay on the surface. Just when he thought he knew Anson well enough, this young man could bring even more surprises.

Like an adventure.

So, Gus became curious.

Anson shrugged slightly. "Waiting for the unknown."

Gus: ???

Anson: "Waiting for those possibilities to come. There's no need to rush. Isn't that exciting?"

Gus couldn't help but chuckle. It was indeed Anson, the answer once again brought a surprise. But he still nodded. "Indeed."

This kind of vision and open-mindedness was unique. Gus admitted that he was still narrow-minded.

A smile crept onto his face, and then Gus saw the actors leaving the school space in droves, their gazes sneaking glances at him but not daring to approach. He immediately understood.

Gus patted Anson's shoulder. "I won't stay here and be an obstacle, after all, you don't have many hours left in the crew."

With a little joke, Gus put his hands behind his back and strode away.

As soon as Gus left, the surrounding crowd started to stir.

Alex and Eric took the lead, rushing forward in a race-walking manner. The confusion and bewilderment between their brows revealed their true feelings beforehand, their heads full of question marks as they continuously looked around.

"Is this all?"

"It's over just like that?"

Alex was completely clueless, looking around while throwing out question marks.

"It's just over like this? I thought there would be something special for the wrap."

Anson chuckled and shrugged. "There's really nothing special."

Making a movie was probably like this. The actor's part was indeed nothing unusual. The truly exhilarating and exciting part was the director's part.

That was the magic.

Although his stay in the "Elephant" crew was short, the gains were abundant. Now Anson was full of energy, in a state of excitement and joy.

Especially the conversation with the director just now gave Anson a new perspective on acting.

His mood also lightened up.

"Two eyes, a nose, a mouth. There's no need to make a fuss."

Anson deliberately went off track and made a joke, and Alex foolishly laughed.

Eric let out a soft sigh. "It feels a bit unreal. It didn't feel real when it started, and it doesn't feel real when it ends. If it weren't for you standing right in front of me, I wouldn't believe we made a movie."

Pausing for a moment, Eric hesitated to speak: Even with Anson right in front of him, he still couldn't tell if his collaboration with Anson was a figment of his imagination or a scene from real life.

Anson noticed this.

Actually, Eric was suitable for the big screen. Although he lacked confidence in himself, Gus chose him, probably because he saw something special in him. His eyes were clear and held a story.

Anson was also looking forward to the final result of the film.

Anson: "When the film is released, the feeling will be different. Especially when you see your own face on the big screen, it feels even stranger. It's not like a TV. The entire light and shadow effect fills the theater, creating an oppressive visual experience."

Alex thought about it seriously, then made a disgusted sound, goosebumps appearing all over his arms, and he couldn't help but stomp his feet on the spot.

It seemed that Alex wasn't interested in watching "Elephant."

But Eric didn't pay attention to Alex. He nodded slightly, his gaze unfocused, lost in thought. His expression showed a hint of reluctance, and he muttered in a low voice, "If only we could keep filming."

Alex jokingly retorted, "Sure, why not? You can go lie down there now, and I can keep shooting some more footage."

Eric didn't mind being teased. He turned to look at the other students who were wiping off fake blood in the classrooms and corridors, then looked down at the camouflage uniform he was wearing and the prop gun in his hand. The sense of incongruity finally brought some impact, and the reality of making a film became clearer.

"Okay, wake me up when summer ends."

Involuntarily, Anson thought of the classic line from "Blue Gate Crossing":

"I feel so unwilling. Summer is almost over, and it feels like we haven't done anything."

Summer, unrestrained and gorgeous, bright and brilliant, life seemed to burn unrestrainedly, and the whole world was different during those times. Naturally, when summer ended, it was inevitable to feel melancholic.

Reluctant to part.