From Flower Vase to Film Emperor in Hollywood

Anson gently raised his chin, revealing a knowing expression, but he didn't rush to speak. Kristen's idea was correct, but he also needed to organize his thoughts:

Where's the key?

Mary Jane falls in love with Spider-Man, and then falls in love with Peter Parker. Here, the screenwriter played a trick. For the audience, it's a matter of course because they know Peter Parker is Spider-Man, and they can seamlessly complete the transition while watching the movie.

But for the actors, some information is missing. How could Mary Jane fall in love with Peter Parker while also being in love with Spider-Man, especially when she was dating Harry Osborn at the time?

In his previous life, the "Spider-Man" movie failed to clearly explain the logic here, but cleverly used the information gap of the audience knowing Spider-Man's true identity to complete the substitution, silently completing Mary Jane's emotional development.

Perhaps the audience doesn't notice the strangeness here when watching the movie, but they can sense the inconsistency and roughness when they calm down. The effect presented to the audience is that Mary Jane is fickle, loving one person after another.

This is a heavy blow to the fullness, three-dimensionality, and charm of the character.

There's a phenomenon in the film industry called the "Refrigerator Effect."

That is to say, if the audience is completely attracted while watching the movie and doesn't notice any anomalies until they get home and open the refrigerator, then they realize the movie's logical errors or plot flaws, then the movie is successful.

After all, movies are created by people, and some mistakes and loopholes are inevitable; but the real charm of movies lies in the immersive experience during the viewing process. Therefore, as long as the audience doesn't notice any anomalies before opening the refrigerator, there's no problem.

Within the reasonable range of the "Refrigerator Effect," some imperfections and errors are acceptable.

For example, Mary Jane's emotional development.

Will this affect movie box office? No.

This arc can not only make Peter Parker complete but also allow Mary Jane to bear the same weight as Uncle Ben in the movie.

However, script deficiencies, movie length, and other factors limit Kristen's performance, ultimately leading to Mary Jane still being reduced to a vase, just like a toy in the power struggle between Harry Osborn and Peter Parker.

For commercial films, this situation is common; but Sam's original intention was to make a coming-of-age film, and this deficiency is undoubtedly a pity.

Now, regardless of the reason, Kristen has realized this. Does this mean they have a chance to take the movie to the next level?

Thinking of this, Anson looked at Kristen again.

"So, what kind of girl do you think Mary Jane is?"

Kristen was very surprised. Anson didn't answer her question but started another topic, but she didn't rush to speak.

After a moment of contemplation.

"A glamorous exterior, but isolated and helpless inside."

In one sentence, Kristen accurately grasped Mary Jane's characteristics.

Kristen looked at Anson again, and Anson nodded in agreement, "Mary Jane's family is terrible, not just lonely, but constantly hurting her. She's trying to escape, and her only thought is to leave that hell as soon as possible."

"She has no sense of security, lonely, fragile, stubborn, and hides her inferiority."

Kristen interjected, "Inferiority?" Are you sure?

Anson's eyes were firm, "Yes. Inferiority. She doesn't think she deserves a better choice, and she doesn't believe anyone would sincerely love her. So, she tries her best to grab anyone who is willing to approach her, just like grabbing a lifeline, even if she has never liked the other person."

"She's just asking for help."

Kristen fell into deep thought.

Anson continued.

"In fact, her affection for Spider-Man is the same. Because he has saved her several times, like every girl with a Cinderella fantasy, she expects a prince to save her from fire and water. She has developed a strange emotion for Spider-Man."

"It's not necessarily love, but gratitude and joy for the savior take precedence, so she actively kisses Spider-Man."

Thus, they dedicated that upside-down kiss, which became a classic in film history.

Kristen felt the impact. Anson proposed a very bold and novel point of view, "So she doesn't like Harry Osborn, and she doesn't like Spider-Man?"

Anson shrugged slightly, "Have you seen 'The Great Gatsby'? In fact, Mary Jane's heart is the same as Daisy's. Daisy has never figured out what she wants, she's just blindly chasing, and then she's slowly swallowed by her own emptiness."

Kristen was stunned, and a smile crept onto her lips, "Are you comparing 'Spider-Man' to 'The Great Gatsby' now?"

Anson spread his hands, "The focus is not on them, but on our understanding of words, characters, and life. This is the job of an actor."

Kristen was stunned.

Jack was also stunned.

In the coffee shop, the murmur of voices was faintly surging, and occasionally the sound of porcelain clashing could be heard. Outside, the roar of engines came and went, but at this moment, the world of the three young people seemed particularly quiet.

There was no exchange of glances, and no conversation started, just immersed in their own worlds, but the inspiration in the minds of the three young actors was surging.

Then, Anson's voice vibrated gently in the warm and harmonious air.

"Mary Jane has never noticed Peter Parker, even though they are neighbors, because she has always been running away. She is trying to escape her life, that family, that neighborhood, and naturally includes Peter. Peter is also part of the life she wants to escape."

"Until one day she realizes that she can't escape."

"Maybe she can deceive others, but she can never deceive herself. Then, she realizes that maybe Peter Parker is the only exception."

"Because she can be herself in front of Peter, without needing to hide; also because Peter can 'see' her, not her appearance but her existence, see her fear, her struggle, her fragility, her dreams, and also because Peter is willing to listen carefully to her voice. At that moment, she is real."

"More importantly, Peter represents her truth and can also understand her dreams. Peter has never tried to hold her back and not let her leave."

"Perhaps, Mary Jane herself hasn't realized it, but standing in front of Peter, from the beginning, one sentence, two sentences, slowly more and more, approaching Peter is like approaching warmth, an instinct in the cold winter."

"Then, there is a throbbing."

"For Mary Jane, this is the first time."

The world, completely quieted down.