Despite still being young and inexperienced, Amanda's audition brought sothing different, which made Anson have higher expectations for her.
Unfortunately, Marcia didn't think it was a good idea because she felt Amanda's beauty was too aggressive and lacked depth—at least, that's how it appeared.
"She needs to encounter an excellent director who will give her the ti and space to explore, slowly uncovering and shaping her talent. Otherwise, she's just a Barbie doll."
Anson carefully considered Marcia's words and ultimately agreed that Marcia was right. "The Butterfly Effect" was not the right project for Amanda.
With the hustle and bustle of auditions, with countless actors coming and going, it beca clear to Anson that this process was both a ntal and physical challenge—for casting directors, producers, and actors alike. Just as Anson was about to leave the set early, another significant face appeared:
Jessica Alba.
Undoubtedly one of the most beautiful faces of the 21st century, Jessica Alba topped nurous lists, becoming the dream girl of millions. The year 2005 marked the peak of her career with "Sin City" and "Fantastic Four" both enjoying box office and critical success, placing her at the top of the Hollywood pyramid.
However, Hollywood is ruthless. With each new generation, it's hard enough to reach the top, but even harder to stay there.
After 2005, Jessica never managed to break through again. She remained labeled as rely a sex symbol, despite trying her hand at different types of roles. Unfortunately, none of her projects made a significant impact, and she gradually faded into the crowd.
Regretful as it was, no one could deny that Jessica was an iconic face of Hollywood in the first decade of the new millennium.
When she arrived, not only did Anson's eyes light up, but Marcia and Nicholas were also visibly impressed—Jessica was no longer an unknown.
Though she was only 21, Jessica had already spent six years in Hollywood, rising to fa with the series "Dark Angel," produced by Jas Caron, which earned her a Golden Globe nomination and put her in the public eye.
Over the past two years, Jessica had starred in three or four films. While none were breakout hits, she was still a rising star and, strictly speaking, more experienced than Anson.
Anson and the others hadn't expected Jessica to audition, and without a doubt, she was the biggest na to appear at the casting call so far.
And she was truly a beauty.
With her golden-tanned skin, perfectly proportioned features, and a toned figure, she exuded a healthy and sexy youthful energy, even with just a simple shirt and denim shorts, her dark brown, slightly curled hair casually draped over her shoulders, like a ray of sunshine.
She easily captured everyone's attention.
Marcia's imdiate reaction was to turn to Anson and say, "A pure visual delight. Now I finally understand why I stick with this job."
After a scrutinizing and unabashedly bold look at Anson, Marcia added, "…Thank you?"
The hesitant upward inflection in Anson's voice instantly lightened the mood.
Marcia even continued the joke, "Oh, sorry, this guy is a producer now."
Completely clueless, Jessica glanced back and forth between Marcia and Anson. "So, have you given up acting?"
Her question successfully got everyone laughing.
Jessica's audition didn't last long. Even though Anson personally did a reading with her, there was no spark between them.
"She's too kind, her eyes are too pure; you can't see anything else. She's just striking a pose and playing up her appearance," was Marcia's assessnt.
Despite that, Anson still sent Jessica Alba's details, along with those of other actors, to McG and Eric, inviting the directors to join the discussion.
However, neither McG nor Eric had much input.
To be precise, this wasn't surprising. Just as they hadn't envisioned Evan's appearance initially, now they couldn't picture the female lead either; no concept ca to mind.
But they still picked so nas based on their own imaginations.
After seeing their choices, Anson quickly figured out their thoughts and couldn't help but laugh. "Dear directors, this isn't about choosing your ideal type; you're not picking a harem. Don't select based on personal preference."
Eric, on the other end of the phone, started coughing violently, seemingly choking on his own words.
McG confidently retorted, "Keller represents our ideal vision of happiness, so naturally, we should listen to our hearts and choose an actress who moves us."
Anson didn't argue, "Your vision, not Evan's?"
This one question instantly left McG speechless.
Finally, Eric regained his composure. "Go ahead and choose according to your judgnt; we have no objections. What matters is that you and the actress can create sparks on screen since you're the ones performing in front of the cara."
"We know our script inside and out, every detail and scene; but when it cos to acting, we know nothing. So, we leave the performance to you."
Sure enough, Marcia's concerns were valid—the two directors, who ca from a screenwriting background, had no concept of directing, framing, or capturing performances. Their approach to filmmaking was strictly bound to the script.
This wasn't good news.
Considering their future trajectory, it was evident that McG and Eric hadn't managed to carve out a unique place for themselves like other directors skilled in original screenplays, such as the Coen Brothers, Quentin Tarantino, or Woody Allen. After "The Butterfly Effect," the pair wrote several more scripts, but none gained significant attention. Later, they shifted to television writing, but even there, they didn't make much of a splash.
In other words, the success of "The Butterfly Effect" stemd from their screenwriting talent; the limitations ca from their directing skills, and that's all there was to it.
So, what now?
Should they change directors at this point?
Anson even briefly considered calling Steven Spielberg to ask about David Fincher's availability but quickly realized that the entire project might need to be overhauled.
Not only would this an betraying Eric and McG, but it would also require convincing New Line Cinema all over again, as the investnt and production direction could change. Most importantly and most challenging of all, it would require persuading David Fincher.
After so thought, Anson dismissed the idea.
Everything in life has two sides, pros, and cons, which are often inseparable.
Perhaps McG and Eric lacked a certain flair as directors, but they were also willing to give actors more space to perform.
For Anson, this was a good thing.
After all the twists and turns, the problem ca back to Anson:
Who should play the role of Keller?
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