Actor in Hollywood Chapter 741 739: Not Exactly Friends

Knock, knock.

Edgar's fingertips gently tapped on the tabletop as his thoughts rapidly raced through his mind.

Then, his fingers stopped.

"Is your relationship with Brad Pitt really that bad?"

Anson shrugged lightly, "I can't tell you for sure because it's not up to . But after everything that happened, I strongly doubt Brad sees as a friend."

Pausing for a mont, he added,

"Sa with Matt. We're not enemies, but... not friends either."

It's a bit complicated to explain.

It's not that George Clooney would necessarily oppose Anson being in the movie, nor that Brad Pitt and Matt Damon would deliberately make things difficult for him. It's just that Jeff's grand vision might not align with George's plans.

That's how Hollywood works—if it's an unavoidable job, like walking the Emmy Awards red carpet, they'll put on their best faces and play the part together.

But if it's not, top-tier actors have their own preferences and quirks. They'd rather avoid working with soone if it ans swallowing unpleasantness.

"Ocean's Twelve" falls into the latter category. George gathered a group of close friends, half working, half vacationing. They wanted to keep the mood light and fun.

So, with so many top actors in Hollywood, does George really need to risk disrupting the crew's atmosphere to invite Anson for this role if it's not absolutely necessary?

Or, even if George is open to Anson joining, is he willing to change the plan and give the twelfth spot to Anson?

Plus, from a promotional standpoint, if Anson were to join, given his current popularity, almost every audience mber would assu he's the twelfth "Ocean's" mber. Wouldn't that spoil the surprise? It wouldn't be as exciting as Julia Roberts being the hidden twelfth mber.

From every angle, Anson is an option, but not the best one.

But all this is just speculation, based on the available information.

So, Anson looked at Edgar, "How about you talk to the producer again to clarify the role?"

"Hey, Captain, if they need , I'm totally free right now, no scheduling issues."

Since there's no set plan for the next project, with "Spider-Man 2" and "The Princess Diaries 2" both in early stages, Anson's schedule is currently open.

Edgar didn't argue further, just nodded to show he understood.

On the contrary, Anson sensed Edgar's disappointnt and offered so comfort, "Whether it works out or not, the fact that I caught the attention of their crew is already a breakthrough. After all, it's George Clooney and his pals."

This little joke brought a smile back to Edgar's face.

Then, Anson flipped through the last two scripts.

Sowhat surprisingly, both were love stories; but on second thought, it wasn't surprising at all. Edgar's strategy was pretty clear.

A hypothesis: if Anson has already broken the stereotype of being a high schooler through "Catch If You Can"—and it's just a hypothesis since they don't yet know the market's response—the chance to test if the general public accepts different versions of Anson is the next project.

"Elephant" still has him playing a high schooler.

"The Butterfly Effect," on the other hand, is about a college student.

Naturally, the selected works ahead will be crucial.

So, when Anson rejected "The Day After Tomorrow," Edgar didn't argue. Likewise, choosing "National Treasure" and "Ocean's Twelve" was about shifting towards adventure/cri genres, the most popular type of films right now.

Finally, there's the romantic film, which makes full use of Anson's physical appeal, further advancing his image as a "dream lover."

If the movie is a box office hit, it ans Anson will shed the student image and establish himself as an adult heartthrob, opening a new world of possibilities.

Different choices an different future paths.

"National Treasure" or "Ocean's Twelve," both count as cri/adventure/action films, paving the way for Anson to take on more comrcial blockbusters, including but not limited to action, sci-fi, adventure, and disaster genres.

Romantic films, however, lead down a different path, focusing on cody, romance, drama, and mystery.

Of course, this is just a general tendency and not an absolute division. Once an actor expands their range, they can jump between genres, like Tom Cruise or Will Smith, who can be both action heroes and romantic leads.

But!

There are always preferences, because each ti an actor steps out of their comfort zone, it ans taking risks and challenges, facing the possibility of failure—

Sandra Bullock's attempts, for example.

As for Edgar, he personally leans towards Anson choosing the romance genre.

The reason is simple: it's about the Academy.

In Hollywood, action movies are quickly labeled as all brawn, violence, and simplicity. It's not that these movies aren't exciting, but they test the actor's physical skills more than their acting chops. So while the Academy mbers might enjoy them in theaters, they're less likely to vote for them at the Oscars.

There are exceptions, but breaking this prejudice is incredibly tough.

If it were just "Spider-Man," Edgar wouldn't have so many thoughts. But "Catch If You Can" and "The Butterfly Effect" made Edgar see more potential.

Edgar had an idea in mind that he hadn't shared with Anson, to avoid putting unnecessary pressure on him:

Tom Hanks.

Edgar believed Anson could follow a similar path to Tom Hanks.

In his younger days, Hanks was also a "boy next door" from youth films, starring in a series of codies and romantic films—"Sleepless in Seattle" being the most famous. But at the sa ti, he also shone in drama, history, and biographical films, showcasing his acting talents and winning over the Academy.

Actually, romance and cody need to be broken down further. Under the big categories, there are countless sub-genres, and they're equally looked down upon by the Academy. Cody, especially, is often associated with clowns, idols, and eye candy, not exactly flattering labels.

Not everyone can beco the next Tom Hanks.

Still, Edgar painted a blueprint in his mind.

Today, he brought Anson five scripts, each with its own significance.

That's why, when Anson asked Edgar to stay for further discussion to reach a consensus, Edgar gladly stayed.

Indeed, they needed to talk about the next step, to make the most of the current advantage and take control, planning Anson's career.

Among the five scripts, two were romances.

And they weren't just any romantic scripts. Edgar had carefully chosen them, and they imdiately caught Anson's eye—a testant to Edgar's keen sense in picking the gems.

One was "50 First Dates."

The other was "Eternal Sunshine of the Spotless Mind."