371-375

*Chapter 371: The Femme Fatale*

The situation was gradually getting interesting.

First, rumors spread wildly about Winona and Anson having been secretly involved for a long time. The gossip media and curious onlookers eagerly pieced together timelines, trying to determine who cheated first—Winona or Matt.

Then, almost immediately after, paparazzi dropped a bombshell: Winona and Anson had never even been in contact before Paris Fashion Week, where they met for the first time. The supposed affair was just a ploy to clear Matt's name.

Next, the focus shifted to the overlapping timelines involving Matt, Tom, and Penelope, while Winona and Nicole, the two victims, quietly faded from the public eye.

Had the story ended there, it would have been just another Hollywood love polygon—some gossip, some drama, nothing more.

But then!

The headlines didn't last long before the narrative shifted subtly. More and more rumors about Tom and Penelope began to surface, while Matt slowly disappeared from the spotlight.

People thought Matt would play the victim—the guy who fell for Penelope, only for her to ditch him for Tom. But instead, Matt didn't say a word.

In the flood of news, Matt took a backseat, with no explanations or clarifications. It was as if he had completely distanced himself from the scandal, rendering himself unimportant. Every report downplayed his presence.

The focus quietly and completely shifted to Penelope:

The seductress.

She was portrayed as the homewrecker, the woman who toyed with hearts, who juggled multiple relationships, who flirted for fun. Her sexy, alluring image became deeply ingrained in the public's mind, and all the criticism, ridicule, and attacks were directed squarely at her.

For the casual observer, it was just entertaining gossip, but industry insiders could see what was really going on—

The "Boston Mafia" had stepped in.

After Matt's PR team repeatedly messed up, causing him to spiral into deeper trouble, things were looking worse and worse for him. Realizing that their strategy to frame Anson had failed and only backfired, they quickly pulled back.

And so, the fire was redirected at Tom Cruise.

Outsiders might wonder, couldn’t Tom Cruise outmatch Matt Damon?

In terms of industry standing, Tom was miles ahead of Matt, especially in 2001.

But Tom was a solo act, while Matt had the entire Boston Mafia backing him. In the tug-of-war of connections, resources, and power, Matt had no reason to fear Tom.

Besides, it was just a rumor—misdirection, not slander out of thin air.

Tom had no choice but to swallow his pride. Consequently, when people later recalled this scandal, Matt and Penelope's involvement was all but forgotten. The narrative became all about the sparks between Penelope and Tom during the filming of "Vanilla Sky," which supposedly led to Tom's divorce from Nicole.

So, how did Tom respond?

He sacrificed Penelope.

After all, Penelope was a Spanish actress who only made her Hollywood debut after gaining global attention in 2000 with "All About My Mother." She had no real roots in the industry. Plus, in scandals like this, it's always easy to label the woman as the "femme fatale," and redirecting the public's attention was a simple task.

And then, that was that.

The sensational scandal persisted for a while, the chatter never ceased, and the gossip-hungry crowd had their fill, riding the wave of drama all the way to the end of the year.

So, what happened to Anson?

After briefly standing in the spotlight, he couldn’t maintain the momentum and gradually faded from the public eye. Life returned to normal, and the noise of Paris Fashion Week seemed to become a distant memory—

Well, not entirely.

At the end of October, the November issue of "Vogue" made a sensational debut. Although it wasn't the cover story, Anna Wintour made a bold and crazy move by showcasing Anson's fashion philosophy in depth. With a focus on authenticity, the magazine offered a rare look into men's fashion.

The world was stunned.

In 2001, there were already few platforms dedicated to showcasing men's fashion. Even magazines like GQ, which primarily targeted men's fashion, lacked a cohesive vision and constantly oscillated between catering to elite men and fashionable women. Clearly, they weren’t yet capable of reshaping the entire fashion landscape.

But now, the industry leader, Vogue, long focused on women's fashion, suddenly turned its attention to men's fashion. And what's even more astonishing is that Anna Wintour handed over the reins to Anson!

This?

Naturally, the first reaction within the industry was skepticism.

Everyone in the industry is a professional, so no one naively believed that Vogue was genuinely showcasing Anson’s personal style, right?

But after seriously digging into the industry’s buzz, it seemed this time was different.

Not only was Anna planning a one-off feature, but she intended to do at least three more issues, corresponding to the winter, spring, and summer seasons. Such a level of attention was almost unheard of in Vogue’s history.

Could it be…?

No way!

The buzz from Paris Fashion Week reignited with renewed intensity as Vogue presented Anson in yet another stunning light. Unlike Dior or Chanel, Anson continued to showcase his versatile style.

Without a doubt, Anson once again became the hottest topic in the fashion world, skyrocketing in popularity, and was undeniably the most sought-after figure in the fashion scene this fall.

Just look at the sales figures—

This issue of Vogue sold an astonishing 560,000 copies, dominating the charts and breaking the record for the highest magazine sales in 2001.

Even though Anson wasn’t on the cover, industry insiders knew that he was the real key. After GQ, this was the second time Anson had proven his influence in the fashion world, and this time he took it to another level, capturing everyone’s attention.

Suddenly, Anson became the top choice for editorial shoots across major magazines. Offers for cover shoots poured in as well—a remarkable feat for someone who hadn’t even had a leading role in a major film release yet.

No one could have predicted that this trip to Paris Fashion Week would become the turning point in Anson’s career, generating waves of attention far beyond any previous work. He was quickly emerging as a new fashion icon—

A new male star was being born.

But what surprised everyone even more was that Anson turned down all of these offers.

All of them.

Edgar didn’t hide the fact that Anson was currently preparing for his next project, and his focus needed to remain on acting. They looked forward to future collaborations.

With Hollywood’s fast-paced grapevine, it didn’t take long to discover that Anson’s next project was a film by none other than Steven Spielberg!

When did that happen?

And his co-star? Tom Hanks!

Now, that’s going to stir things up.

*Chapter 372: Crafting the Character*

Anson was no longer an unknown name.

As the star of the upcoming "Spider-Man" movie set to release next year, he certainly wasn't a nobody. Even though the movie hadn't hit theaters yet, and its box office performance was still uncertain—it could flop, after all—his visibility was undeniable.

But the names Steven Spielberg and Tom Hanks carried a different weight altogether. When Anson's name was mentioned alongside these two industry giants, everything changed. People couldn't help but take notice.

While the public was busy buzzing about Paris Fashion Week and the tangled web of rumors, Anson's acting career quietly gained new momentum.

Edgar's negotiations with DreamWorks went much more smoothly than expected.

At first, DreamWorks insisted on a fixed payment—just a single paycheck for Anson, and that would be it. Although Anson was the lead in this project, his bargaining power was limited in the face of Spielberg and Hanks. DreamWorks wanted to keep the salary low to ease their tight cash flow.

Edgar knew all too well about DreamWorks' financial constraints. From the start, he didn’t aim for a high upfront salary. Instead, he emphasized Anson's willingness to collaborate, even hinting that Anson would be willing to lower his fee just for the chance to work with Spielberg and Hanks. However, Edgar never named a specific figure.

After several rounds of back-and-forth, Edgar proposed a profit-sharing deal, which caught DreamWorks by surprise.

On one hand, DreamWorks was sensitive to profit-sharing. They already had to pay a cut to the distribution company, leaving them with less revenue to share with the director, actors, and producers.

On the other hand, DreamWorks was puzzled—most actors these days were risk-averse, preferring a guaranteed payout. The $20 million club was still the pinnacle that everyone aspired to, but Anson was different.

Yet, Edgar managed to convince DreamWorks—

Cash flow was indeed tight.

Even though Anson wasn't a top-tier actor yet, so cutting his salary wouldn't save much, any savings were better than none. Plus, having Anson share in the risk was appealing.

Most importantly, Edgar offered a very reasonable deal.

$2 million plus 1.5% of the box office gross.

It wasn’t much. Both the salary and the profit share were modest, and the numbers were well within DreamWorks' control. Plus, this was far cheaper than hiring Leonardo DiCaprio, saving the production at least $10 million in flexible funds, which DreamWorks desperately needed.

The contract was quickly finalized, and Anson signed on the dotted line, officially joining the project.

In terms of numbers, the pay for "Catch Me If You Can" was slightly less than "Spider-Man." The profit-sharing percentage dropped from 3% to 1.5%, effectively cutting it in half.

There were two reasons for this:

First, Edgar genuinely had no intention of squeezing DreamWorks for more. He had said from the beginning that Anson was willing to lower his fee just for the opportunity to work with Spielberg and Hanks, and he meant it.

Second, there were no limiting conditions on this profit share. For "Spider-Man," Anson's share only kicked in after the North American box office exceeded $100 million, but "Catch Me If You Can" had no such restrictions.

All things considered, if both movies performed well at the box office, grossing over $100 million domestically, "Catch Me If You Can" could end up paying Anson slightly more than "Spider-Man." Anson's career was still steadily progressing.

Of course, Edgar's sincerity was the real key to this successful negotiation, so much so that Spielberg himself called Anson to subtly express his gratitude.

Meanwhile, as Edgar was busy with negotiations, the media caught wind of the deal. By the time the news broke, everything was nearly finalized, and the buzz in the media exploded—

Pre-release publicity.

The free publicity immediately gave the project a boost, and DreamWorks didn't even have to lift a finger. "Catch Me If You Can" had already received its first wave of media exposure.

While all this was happening, Anson was at home, diving into the script.

He started by reading Frank Abagnale Jr.'s autobiography.

Overall, Anson still lacks acting experience. He needs to seriously delve into each role, trying to build the character from a holistic perspective while exploring different acting methods. This time, it's an autobiography, which makes it even more unique.

The thing about an autobiography is that it’s based on a real person.

There might be some embellishment in Frank Abagnale Jr.'s autobiography, but it's undeniable that he is a real person and those stories truly happened.

Typically, when adapting an autobiography or a film based on a real person, filmmakers face a significant challenge:

How to find the right balance between portraying a real person and creating art.

If the person is still alive, they might even directly interfere with the film's production, and in extreme cases, legal action might be taken.

This was the case with "The Social Network." After an internal screening, Mark Zuckerberg claimed the film defamed him and distorted the truth, threatening legal action. The ensuing drama made headlines across major media outlets.

But "Catch Me If You Can" was very different, with none of this happening.

Frank Abagnale Jr. is still alive, living a quiet, low-key life, completely removed from the public eye. He chose not to engage with the film at all—

He didn’t raise any objections, but he also refused to provide any assistance.

Anson wanted to sit down and talk with Frank Abagnale Jr. face-to-face, to see the real person behind the story and discuss the events directly. But his request was denied.

Not just Anson; Frank Abagnale Jr. refused to meet with anyone from the production, including the screenwriter, producer, and of course, Steven Spielberg.

Frank Abagnale Jr. wanted no involvement with the movie's production.

Other real people mentioned in the autobiography, even if they are still alive, also declined the production team's requests for interviews and made no demands.

This is rare and quite strange.

On the downside, they didn’t offer any help. But on the upside, they allowed the filmmakers to have creative freedom, even if it meant deviating a bit from reality.

Because of this, after Anson had an in-depth discussion with Steven Spielberg, Steven expressed that he wanted to shift the focus away from the crime aspects of the autobiography—

The crimes, though bizarre and jaw-dropping, were perfect for generating buzz and securing viewership.

However, Steven preferred to approach the story from a family perspective, giving Frank Abagnale Jr.’s character a clear and complete narrative arc.

When I first watched "Catch Me If You Can," I didn’t understand this creative motivation; I was more impressed by Leonardo DiCaprio’s peak looks, which were showcased even more effectively in this film than in "Titanic."

It wasn't until twenty years later, after watching Steven's autobiographical "The Fabelmans," that I truly understood. Steven’s parents divorced, leading him to move with his father while his sisters stayed with their mother. This experience deeply influenced Steven’s approach to storytelling.

In "Catch Me If You Can," Steven projected his childhood onto Frank Abagnale Jr.

Looking back twenty years later, it’s surprising to realize that the vibrant, colorful blockbuster "Catch Me If You Can" is actually one of Steven’s most personal and emotionally invested films.

Anson thinks it might be the same for him as well.

*Chapter 373: Breaking Barriers*

Frank Abagnale Jr. committed his first crime at just sixteen years old and was only twenty-one when he was finally arrested by the FBI.

So, how exactly did he end up on the path of crime, step by step?

In his autobiography, Frank doesn’t clearly spell it out; he simply narrates his story. However, Steven Spielberg keenly picked up on the underlying influence of Frank’s family and found a connection between Frank and his father.

But is that really how it was?

It doesn’t matter.

After all, a film director isn’t a psychologist, and making a movie isn’t about analyzing criminal psychology. What truly matters is that Steven found a starting point, and this starting point allowed him to explore his own inner world while giving the audience something they could resonate with, something that lets them feel the emotional core of the film.

When Frank Jr. was fifteen, his father, Frank Abagnale Sr., suffered a major business setback, leaving him with no way out.

Frank Sr. tried to get help from the bank and used some "cunning" tactics of a businessman, attempting to smooth things over with sweet talk and small favors.

Unfortunately, it all failed.

His business collapsed, his marriage broke down, and Frank Sr. lost everything like a dog with its tail between its legs.

Despite Frank Sr.'s failures, young Frank Jr. saw all of these tricks. He admired his father, looked up to him, and wholeheartedly believed in him. His father’s positive image was like a seed planted deep in Frank Jr.'s heart, which took root and grew after his father’s business failed and his parents' marriage fell apart.

All along, his father tried to save the marriage but was powerless to change the reality. So, later on, everything Frank Jr. did stemmed from this:

He longed to achieve his father’s dreams, to reunite his parents, and to restore the warmth of their family. Even after his father shattered his illusions, Frank Jr. desperately sought to build a family of his own, willing to take extreme risks to grasp any lifeline.

Everything started with his father and returned to the idea of family.

In a way, Steven Spielberg projected his own experiences onto Frank Jr., but what the real Frank Jr. was actually like in reality, no one truly knows.

However, in real life, after being arrested, Frank Jr. served five years in prison before being granted parole for good behavior.

Due to his criminal record, Frank Jr. faced many challenges in his real life until the FBI agent who had caught him decided to give him another chance, allowing him to work as a consultant to help catch criminals. The turning point came when he met his wife, Kelly Abagnale.

Frank Jr. and Kelly married and, to this day, have never separated. They have three children together.

Frank Abagnale Jr. refused any interviews from the film crew, partly because he wanted to completely sever ties with his past and no longer wished for his life to be disturbed.

So, while Steven Spielberg’s “re-creation” might not be entirely accurate, it’s not entirely wrong either.

It’s because of this that Steven, who is not typically known for directing emotional scenes, managed to create one of the most touching relationships of his entire directing career in this film—

Even surpassing "The Fabelmans."

And when Anson read the autobiography and then the script, a familiar feeling gradually took hold of his heart, slowly sending him into a freefall.

In his past life, at the age of twenty-five, his father’s business collapsed like a tsunami, sweeping him into a storm that completely upended his life. His confusion, anger, disappointment, and fear—all of these mixed and clashed within him, making it hard to breathe.

But in reality, the signs had been there all along.

His father had always tried to maintain a perfect image in his eyes—proud, kind, towering, and authoritative—painting a blueprint for success. But as he grew up, Anson realized that perfection doesn’t exist, and the more perfect something seems, the more likely it is to be a facade.

Years ago, his father had already struggled to maintain that image of perfection—the perfect life, the perfect persona, the perfect marriage. By the time Anson was a senior in high school, his parents divorced. It was like a lizard shedding its tail, his father fleeing from his life, leaving behind only a perfect profile and a retreating figure.

Unfortunately, at that time, Anson was too young—still a child, immersed in the exuberance and brashness of youth, where the world seemed to revolve entirely around him. He was too busy embracing life to notice the signs, too self-absorbed to care about anything beyond his own existence—

Until everything fell apart.

So, when his father's victims came knocking on his door, he couldn’t argue, couldn’t resist. All he could do was silently endure it. He couldn’t even turn his back on them. With his head bowed and hands tied, he faced the insults, curses, and attacks head-on, swallowing all the bitterness and pain alone.

At that moment, Anson saw himself in Frank Abagnale Jr.

He had once thought that those memories were too distant, that those wounds had long since healed and scarred over. After all, it had been another lifetime—literally. Even in his previous life, those events were more than a decade old. He had no time to dwell on pain and reminiscence; he had to work, move forward, and keep fighting.

Even pausing to catch his breath felt like a luxury.

But he never expected those memories to be so vivid, so real, that they could cross time and space to clutch his heart once again, making him feel the pain all over again.

At least, in one aspect, Frank Jr. was luckier than Anson. He could still see his father, even in the chaos of a world falling apart. But Anson couldn’t. He never saw his father again, to the point where his father's image in his mind became a blurry label.

Just an outline, with no face.

Anson couldn’t even discern what he felt toward his father. Hatred? Resentment? Disgust? Nostalgia? Admiration?

Even the vibrant, commanding presence his father once had when he was full of ambition had become fuzzy.

And so, Anson found himself in a daze.

The memories from his previous life wrapped around his ankles, pulling him down into an endless ocean. The overwhelming emotions filled his mind, crashing in waves, yet impossible to sort out.

He looked up and saw nothing but water, vast and boundless, surrounding him. He floated on the calm surface, drifting aimlessly, with no direction.

Buzz.

A faint vibration in his eardrums, like the sound of the wind, caught Anson’s attention in the darkness and pulled him back into reality.

He fumbled for his phone, brought it to his ear, and mumbled, "Hello?"

"Anson?"

"Hmm?"

"Anson? Are you okay?"

The voice, distant at first, began to clear away the darkness. The golden sunlight of Los Angeles gently warmed Anson's skin. Slowly, warmth returned to his veins, his vision sharpening again. Though his mind still buzzed, his body seemed to regain its sense of gravity.

He swallowed, feeling the dryness in his throat for the first time.

But the silence on his end made the person on the other side of the call anxious.

"Jesus Christ, Anson, are you okay? Hey, Anson Wood, answer me."

The deep voice, tinged with uncontrollable worry, stirred the calm sea, and a smile slowly crept onto Anson's face as he finally found his voice.

"Luca, I’m fine."

*Chapter 374: The Same Path*

Lucas Wood was terrified, his heart nearly stopping. After a slight sigh of relief, he completely lost control.

"Damn it!"

"Anson, don’t ever do that again! I just called you three times, and you didn’t answer any of them. Even Edgar didn’t pick up. I thought something happened to you. I had a terrible feeling in the pit of my stomach. By the time you answered the fourth call, you seemed completely out of it. What the hell happened?"

"Damn it, are you okay? Are you really alright?"

A barrage of questions came pouring in from the other end of the line, not leaving Anson any space to respond.

It was rare to see Lucas lose his composure.

But Anson felt a warm sensation in his heart, a faint smile playing on his lips as he quietly listened to Lucas vent his frustrations.

"Wait, is it those paparazzi again? Digging through your trash? Or did they break into your place?"

"Give me a list. I’ll have lawyer letters sent out to them tomorrow."

"And you need to move. Your backyard is too open, anyone can just walk in. It wasn’t a problem before, but now those paparazzi are getting more and more brazen."

As Lucas's concerns grew increasingly outlandish, Anson had to interrupt, "And if I move, are you going to pay for it?"

Lucas shot back immediately, "Of course I’m paying. With your current income, Beverly Hills is just a place to window-shop."

Anson burst out laughing, "Luca... Luca. Calm down. Take a deep breath. I’m fine. Everything is fine. The paparazzi haven’t been bothering me. Edgar and Eve have shifted their attention. No one in Hollywood cares about a poor, jobless actor like me right now."

Lucas caught the self-deprecating tone in Anson’s voice and chuckled helplessly, "Yeah, right. Poor little actor. When’s your next movie coming out? I’ll buy out the theater to support you."

"Ha!" Anson laughed outright. "Thanks, boss."

Lucas shook his head lightly, "So, if nothing’s wrong, what was going on with you just now?"

Anson: …

Lucas: "Don’t try to dodge the question. You think I’ve forgotten? I haven’t. Changing the subject might work with your parents, but not with me."

Anson sighed softly, "I was just reading a script, getting into the character a bit, and then you interrupted me. Now what should I do?"

Lucas wasn’t buying Anson’s playful excuse, "Acting? Why take it so seriously? Just be a pretty face like Brad Pitt. Show up, look handsome, strike a few poses, and make some easy money. Why bother with all the hard work? Leave that to the character actors like Dustin Hoffman or Jack Nicholson."

Anson burst out laughing, "Luca, do you think it’s okay to mock Oscar-winning actors like that?"

Lucas didn’t care in the slightest, "Believe me, they’re more aware of it than I am. That’s why they put in so much effort into honing their craft."

Pausing for a moment, Lucas continued, "Anson, promise me you won’t push yourself too hard. Look at Leonardo DiCaprio—he always seems so burdened. For God’s sake, there are practically lines etched into his forehead now."

At this point in time, Leonardo hadn’t yet become the emblem of brooding middle-aged roles that he would in the future, but he was still taking on parts like The Man in the Iron Mask and The Beach to shed his Titanic image—roles that involved either masking his face or disfiguring himself.

The smile lingered on Anson’s lips as he finally managed to contain his laughter, "Luca, I’m a little disappointed. Don’t you believe in my acting talent?"

He expected Lucas to hesitate or falter, but without missing a beat, Lucas replied, "Of course not."

Anson: ???

Lucas rolled his eyes. "I've seen how you look from childhood till now. No matter how you act, it always looks the same to me. I honestly can't imagine those women screaming that you're their dream guy. God, have they seen you when you're being lazy in bed? It's not sexy at all."

That's a big brother for you.

But then he switched gears. "Besides, a real actor shouldn't be limited by their appearance. Even if you're a handsome guy or a beautiful woman, the role can still be convincing. So, there's no need to let yourself turn into a ragged mess."

For a moment, it was hard to tell whether Lucas was criticizing or complimenting him.

Anson, usually quick-witted, found himself at a loss for words in front of Lucas, but he couldn’t help but laugh. "Alright, alright, I get it. So, what's the real reason you called me? Let's talk business."

Lucas slapped his forehead. "Right, business."

"Investment."

"I think it's a good time to buy in large quantities. Are you still planning to buy all of Apple?"

So that’s what this is about.

Anson blinked. "Luca, I trust your professional judgment. The only thing I understand is that Apple is good for long-term investments, so we don't need to worry about short-term fluctuations. As for the short-term stocks, when to buy and when to sell, I'll leave that to your judgment."

"Oh, and the payment for the Dior endorsement should have come through. You can use that for the investment. I'll give you the account password later."

Lucas wasn't surprised at all. "So, you're just planning to sit back and relax, huh?"

Anson wasn’t having it. "So, do you want me to micromanage instead?"

Lucas shook his head slightly. "I just want you not to leave everything to me. Even though I'm your brother, I can still make mistakes, I can still make the wrong decisions, and I can still have my own selfish desires."

Anson was stunned.

Right, why hadn't he learned from past mistakes?

In their previous life, they trusted their father without question, letting him control the family's entire financial situation, which eventually led to their downfall together.

So, was he making the same mistake this time, without even a hint of caution?

Is that stupidity?

Even though he realized this, strangely enough, Anson didn't feel resistant or regretful. Everything felt so natural.

Maybe it's because Lucas gave him the confidence that even if he makes mistakes again, this time, it won't be like the last life—

Lucas wouldn't run away, and he wouldn't disappear. They would face it together.

On the other end of the line, there was silence again. Lucas frowned. "Anson?"

"Yeah, I'm here," Anson nodded gently. "Luca, I trust you."

Lucas could feel the warmth and weight behind those words, gently striking his heart.

Then, Anson continued, "When we change houses next time, I'm counting on you to pay in full."

Obviously, it was a joke, lightly pressing on Lucas's shoulders, and he could feel the weight. "Alright."

The call didn’t last much longer; Lucas still had work to do, so they hung up.

Anson sat quietly in his seat—

Things seemed the same as in the previous life, yet somehow entirely different.

It was hard to tell because life is full of uncertainties, and until things happen, no one can predict what lies ahead. But this time, he could move forward with more determination and confidence.

After a long while, Anson pulled his thoughts back from the sunset and continued reading the script. The same words now held a different warmth.

However, Anson had been serious just now. He was indeed delving into the art of acting, and it felt like he was truly touching the essence and soul of performance for the first time.

So, is this what they call method acting?

### Chapter 375: Introduction to Acting

Acting is a time-honored art form that can be traced back hundreds, if not thousands, of years. After a long period of development and refinement, it has evolved into what we know today.

Generally speaking, people understand acting as the use of movements, expressions, language, and other means to portray a state of being and a character. This traditional understanding of acting has led to the formation of what is known as the classical school of acting, also referred to as *"Expressionism."*

Expressionism is quite straightforward in its approach. It focuses on body language, facial expressions, and the delivery of lines. Actors must accurately grasp the emotions, the character, and the storyline, and then present these elements with precision and control.

There are no shortcuts in this style of acting; it relies entirely on a solid foundation of skills. This is the essence of the saying, "One minute on stage requires ten years of practice." Every actor must undergo systematic training, long-term practice, and professional guidance, refining everything from physical posture to overall presentation.

Each actor's level of understanding of acting and their dedication to honing their craft results in performances that vary widely in quality and depth. The authenticity of their talent becomes immediately apparent.

Because of this, when attending classic productions in London's West End or on Broadway, audiences often study the cast beforehand. Different lineups can produce vastly different viewing experiences. True connoisseurs often select specific casts for their performances.

In fact, the same cast can deliver varying performances on different nights based on their individual states, which is why some avid theatergoers watch the same play repeatedly.

In addition to Expressionism, a different style of acting has risen to prominence over the past fifty years, becoming the mainstream in the industry: *Method Acting.*

Method Acting requires actors to fully immerse themselves in their characters, living as the character would and using their own understanding to express the character's emotional state.

The rise of Method Acting can be attributed to several factors, one of which is the widespread growth of the film and television industry. As more non-traditionally trained actors entered the scene, many found it difficult to convey emotions or states through technical skill alone. Thus, Method Acting was born.

One of the most famous examples in film history is Robert De Niro's performance in Taxi Driver. To capture the authentic experience of a taxi driver and understand the script's historical context, De Niro actually worked as a New York City cab driver for three months, immersing himself in the protagonist's confusion and madness.

This is a prime example of Method Acting.

The highest level of Method Acting is complete immersion, where the boundaries between reality and fiction blur, reaching a state of total absorption.

From Method Acting, a new branch has emerged: *"Substitution Method Acting."*

In general, Method Acting and Substitution Method Acting share the same core principle: actors immerse themselves in the character, using the character’s experiences and emotions to deliver their performance. The difference lies in that Method Acting requires actors to adhere strictly to the character's emotions, while Substitution Method Acting allows actors to substitute their own emotional experiences for those of the character.

For instance, if an actor is playing a role that requires him to fall in love with another man, Method Acting would require him to find a genuine point of connection within the character and truly fall in love with him. Substitution Method Acting, however, would allow the actor to imagine the character as a woman, thereby facilitating the expression of love.

To the audience, this difference may not be noticeable, but for the actors themselves, and their scene partners, the authenticity of the emotions can vary.

Over time, Substitution Method Acting has become increasingly popular worldwide, with Method Acting receding into the background.

The reason for this shift is simple and intuitive.

Method Acting demands a deep engagement with reality, but if an actor is playing a serial killer, he obviously can't commit real crimes, right?

Naturally, Substitution Method Acting, which allows emotional substitution, has gained prominence, especially in Hollywood, where it is now widely embraced.

Overall Perspective on Method Acting and Its Advocates

Proponents of Method Acting (and by extension, Experiential Acting) firmly believe that a character's life is so unique and varied that no one can truly understand their emotions unless they have lived through similar experiences. They argue that any imagined emotion, unless based on real-life experience, is ultimately superficial and tainted by the actor’s own interpretations.

Of course, the broader context for this lies in the complete democratization and widespread accessibility of the entertainment industry.

With the rise of social media platforms and the booming popularity of short videos, the pace of content consumption has accelerated dramatically. Artists no longer have the luxury of attending drama schools to painstakingly hone their craft. The screens are increasingly dominated by influencers with little to no acting training. In such a landscape, actors willing to delve into Method or Experiential Acting are already a rarity.

In contemporary cinema, Europe leans towards Expressionism, insisting that acting requires a high level of skill and discipline—this will likely remain true even decades from now. On the other hand, America champions Method Acting, particularly in Hollywood, where the industry is seen as a gateway to fame for countless people from all walks of life, regardless of their background or training.

Anson falls into the latter category.

Up until now, Anson has been lingering at the threshold of Method Acting.

In roles like those in Friends, The Princess Diaries, and Spider-Man, each character had its own distinct traits, but the common thread was that Anson extracted certain qualities from within himself, amplified them, and shaped them into his characters. From costume to knowledge, he immersed himself in the role, truly experiencing the character.

However, these were relatively light-hearted efforts, as none of these three productions were particularly serious.

Catch Me If You Can follows the same pattern.

Although the film is still predominantly light-hearted, the character of young Frank Abagnale offers Anson a platform for deeper exploration.

In some ways, young Frank's experiences overlap with Anson's own, allowing him to connect with the character on a personal level. Now, Anson needs to draw upon his memories, projecting his emotions and persona onto young Frank, ultimately crafting a new, fully realized character.

Whether it’s Experiential Acting or Method Acting, Anson feels as though he’s finally touching the door to the world of acting—

He hasn’t opened it yet, but he can feel the solid texture of the door beneath his palm.

This realization excites Anson.

In the past, he wished to bury his dark and painful memories, never to recall them again.

But now, he finds that it’s okay to awaken those memories because he’s grown strong enough to face them with equanimity.

This newfound strength comes into play when Anson joins the cast of Catch Me If You Can. The first truly challenging scene doesn’t involve Tom Hanks but rather Christopher Walken—

The actor playing Frank Abagnale Sr.