If you've never written a screenplay, it's easy as a viewer to criticize and say, "It should be done this way or that way. How could the screenwriter not know better?" But when you truly sit down and think about it, crafting a ninety-minute film, deciding how to structure the plot, how to portray the characters, and how to create monts where the story and characters collide to create chemistry, is indeed a challenge.
Take "Pretty Woman," for instance. The entire movie focuses on the two main characters, abandoning subplots involving family and friendship, allowing the screenwriter enough space to fully develop the two characters and their romance, ultimately creating two iconic screen figures.
However, "The Princess Diaries" is different. Mia is the absolute core, with family relationships as the main thread, and romance and friendship must serve to flesh out her character. The narrative space is filled with different subplots, making the character arcs and emotional threads seem simple and rushed, without much room for extension.
So, here's a question:
When did Mia start liking Michael?
The movie never says.
Michael, from the mont he appears, is already established as soone who has a crush on Mia. No storyline buildup is needed; it's just a given. But the romantic developnt between Mia and Michael is almost non-existent, with only one scene serving as the setup—
After Mia's true identity is exposed, she gains the attention of her crush, sending her emotions soaring. In her excitent, she forgets all about her best friend Lilly and Lilly's brother Michael.
Mia not only stands Lilly up for their school radio show but also skips Michael's band performance, focusing solely on her date with Josh, her crush. But it turns out Josh just wants to use her to stir up news, having tipped off the paparazzi and dia in advance.
Only after being humiliated does Mia realize she's hurt both Lilly and Michael.
And then?
Then, Mia apologizes to Michael, Michael attends Mia's sixteenth birthday ceremony, becos her dance partner, and they walk toward a happy ending.
Audience: ?
Wait, isn't sothing missing in this process?
Was Mia already in love with Michael before agreeing to attend his band's performance?
Or did she suddenly fall for Michael after being played by Josh?
If it's the forr, there's no supporting detail in the movie; if it's the latter, it's more about gratitude or guilt than love. Either way, this fairy-tale ending feels rushed and unconvincing, as if it was forced just to create a perfect ending.
It's like drinking chicken soup with a lot of MSG—delicious at first but leaving you thirsty with no lingering aftertaste.
A taste of industrial production.
So, what should Anson do?
Convince the screenwriter to change the script?
Leaving aside the fact that Anson doesn't have that kind of power, even Darren Star might find it difficult to do so; and even if Anson could, he doesn't think it's a good idea.
The biggest mistake a movie can make is being too ambitious.
Trying to cover every subplot without prioritizing what's important ultimately leads to a diluted story where nothing is done well.
What made "The Avengers" successful was its balance—each character had their mont without overshadowing the main plot. Such success has not been replicated by other superhero movies.
The core storyline of "The Princess Diaries" is Mia's transformation and growth from a high schooler to a princess. If Anson were to push for more screen ti for his character, it might bloat the movie, degrade its quality, and ultimately lead to its failure—rendering the extra screen ti useless.
Anson has a different idea.
There's another aspect of "The Avengers" worth referencing: how to enhance a character's appeal within limited screen ti. Even without dedicated plot developnt, language, actions, and details can still enrich a character's image.
So, without adding new scenes to the script, Anson plans to work within the existing frawork, focusing on Michael's every appearance and his interactions with Mia to amplify his character's impact.
The goal is to make the audience—and more importantly, Mia—feel Michael's charm. Not just as a secret admirer, but as soone who watches over and protects her.
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At the sa ti, use enough detail to make the emotional shift convincing. Mia doesn't give Michael a chance out of guilt or gratitude, but rather because she genuinely feels the subtle emotional support and soul connection. Before she even realizes it, Mia already likes him.
This is the "inner essence."
Anson needs to let the cara capture these emotions, subtly laying the groundwork so that Mia's eventual affection for Michael feels natural and inevitable.
Difficult?
Indeed, it's challenging because this is a brand-new challenge for Anson. Perhaps it requires so acting skills.
Is it really that difficult?
Actually, not necessarily, because it doesn't require complexity or depth.
Firstly, the emotional thread is consistent—liking soone. Anson only needs to convey the feeling of affection without any other confusing elents.
Secondly, it's about exuding charm. Although it's slightly different from Paul in "Friends," the essence is still about showing attraction, and in this regard, Anson has so experience.
Thirdly, when it cos to first love, it's often about that mont of excitent. You might like soone because of so trivial matter, so there's no need to make it overly complicated.
In other words, although the space is limited, Anson believes it's sufficient.
A vase remains a vase, but a truly professional vase knows how to seize the character's setting and showcase their strengths. And the excellent ones can break free and beco iconic, like Marilyn Monroe in "The Seven Year Itch," with the scene of her holding down her skirt in the wind becoming an eternal classic.
Though both are vases, the charm they display on the big screen is vastly different.
A bit of research, a bit of preparation, a bit of thinking.
And so.
A bit of excitent.
Anson is also sowhat looking forward to his first big-screen journey in this second life.
"Princess Diaries" has begun filming.
After a brief three-day preparation period, everything is ready—
Julie Andrews hasn't arrived on set yet, but everyone in the crew is already aware that this superstar has officially joined the movie.
She's expected to join the production two weeks after filming begins, as her scenes start from that point. However, the anticipation is already palpable, with the crew eagerly waiting to work with the star, and the atmosphere is filled with joy.
Day one.
For the first scene, Garry Marshall followed the Hollywood tradition of starting with a simple and light scene, hoping for a smooth shoot and a good on to set the tone for the rest of the production.
And indeed, it was. The shoot was smooth, with everything proceeding in an orderly fashion. Even though there was a large number of newcors in the cast, it was a seasoned crew that had worked with Garry for many years.
Things were going smoothly.
Day two. Day three. Day four.
The filming continued to go smoothly. It was evident that Garry, in his sixties, still maintained a strong creative energy and was highly enthusiastic about this movie, being not only focused but also proactive on set.
Finally, on the fifth day, it's happening!
Anson is about to shoot his first scene.
The third update.
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