As an observer, it's easy to point fingers and say a script should go this way or that way, or that a movie should be made in this or that manner—after all, everyone has an opinion.
But as an actual participant, you'll quickly discover that things are more difficult than they seem.
How do you construct a structure and set up a storyline within that frawork without it feeling clichéd or over-the-top? How do you effectively tie the plot to the characters, ensuring it complents the main narrative? Most importantly, how do you maintain a good narrative pace and ensure those "popcorn monts" don't get lost?
In a way, creating comrcial genre films is harder than making art films.
With art films, the focus is on the creator's personal expression—if it doesn't resonate with audiences, it's just that the creator didn't communicate their vision clearly or failed to strike a chord. But genre films don't have that luxury. Balancing unique storytelling with popular trends is an ongoing challenge.
That's why there's a famous saying in Hollywood:
Everyone thinks the script for Titanic was simple, without any difficulty. Writers with even a hint of artistic ambition scoffed at it. Yet, no one has been able to write a second Titanic.
Think about it. Twenty years later, Titanic's global box office record has been surpassed by Avatar and Avengers: Endga. Even in North Arica, movies like Star Wars: The Force Awakens, Spider-Man: No Way Ho, Top Gun: Maverick, and Black Panther have all surpassed Titanic's numbers. What was once considered an unbeatable standard has finally been surpassed.
Yet, none of them are Titanic—at least not from a script perspective. Only Avatar isn't a sequel or an adaptation.
So, is the Titanic script simple?
Simple, but not really.
At least, Anson believes that writing a script is not a simple task—
During the production phase of The Butterfly Effect, Anson got a rough taste of this challenge. Back then, the changes required were limited and didn't involve a complete overhaul. It was difficult, but still within his expectations. Now, although the frawork hasn't been altered, the core structure needs to be addressed in a much more significant way.
The difficulty is beyond imagination.
Even though he was ntally prepared, the actual process of moving things forward was extrely challenging.
For the past few months, Anson has been working closely with the screenwriting team, trying to find a balance to improve the quality of the movie.
Right up until the crew was ready to start filming, the script still wasn't 100% finalized.
But in Hollywood, this is a common occurrence. Not long ago, Anson went through sothing similar during the filming of Eternal Sunshine of the Spotless Mind, so he's no stranger to the experience now.
Sam Raimi pushed the script toward Anson.
"Do you want to read it yourself, or should we discuss it?"
Anson reached for the script, still warm from the printer, signaling that it had just been printed.
He looked at Sam and said, "I'm feeling a little uneasy."
"The way you're talking makes it sound like my suggestions didn't make it in. Seems I don't have enough clout yet."
Knock, knock.
Soone was knocking on the door again.
Noah glanced at the door. "Should I stand guard outside?"
Anson laughed, "You're not a doorman. No need to worry." Then he called out loudly, "Co in."
"Whoa, am I interrupting? Are the boys having a party?" Kirsten Dunst poked her head in through the door, looking left and right.
Anson waved her in. "Perfect timing, way smarter than Jas."
Next to him, the thick-skinned Jas had already made himself comfortable, sitting cross-legged as if nothing was happening, curiously watching Anson and Sam.
Upon hearing Anson's remark, Jas turned to Kirsten. "Anson's been discussing the script with the crew. Did you know that?"
Was that... sarcasm?
Anson waved his hand. "Director, even teen dramas co in categories. There's School Ties and 10 Things I Hate About You, there's Arican Pie and The Princess Diaries, and then there's Dead Poets Society and The Breakfast Club. Sa genre, but with completely different approaches. We just need to find our position."
Jas looked at Anson, and Kirsten also thought it over carefully.
Sam was silent for a mont. "So, are we leaning more toward The Breakfast Club approach?"
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