In 2024, director Denis Villeneuve said something intriguing during a magazine interview while promoting "Dune: Part Two."
He believed that movies were being overly influenced by television, placing too much emphasis on dialogue and neglecting the crucial role of visual storytelling.
Although his exact words may have differed, the overall sentiment was clear.
This Canadian director, known for classics like "Arrival," "Sicario," "Blade Runner 2049," "Incendies," and "Prisoners," expressed that in an ideal world, a film without dialogue that explores characters' inner thoughts, relationships, and the story's context solely through visuals should be highly acclaimed.
Of course, this idea is somewhat extreme, but it undeniably highlights the fundamental difference between movies and television—
Television relies on scripts for storytelling; movies rely on visuals and sound.
As for McKee and Eric...
First, Anson didn't believe these two directors, who came from screenwriting backgrounds, possessed the legendary genius for visual storytelling.
Second, it's okay not to be a genius. Perhaps they have their own ideas about camera angles and composition, but Anson wasn't sure if they had seriously thought it through—
After all, this was just the first scene.
If they had thought about it, that would be great; if not, it didn't matter. It's not too late to start considering it now.
So, it might be worth asking them later.
Rachel noticed the focus in Anson's eyes. The random diversion she threw out hit the mark, allowing her to secretly breathe a sigh of relief, calming her racing heart just a bit.
Then.
She couldn't help but glance at Anson's focused side profile again. Immersed in his work, his face seemed to glow faintly. Rachel's smile subtly widened as her scattered thoughts returned to her performance.
Anson didn't have time to delve into it; he immediately looked up at Heath, casting a questioning gaze.
"And then?"
Heath was a bit surprised, looking at Anson with innocent eyes, "I just came to offer congratulations. You were discussing something professional, no need to include me, continue."
But Anson wasn't buying it, "Come on, Heath. You're not the type who enjoys socializing. You wouldn't leave the whole crew just to congratulate us."
If it were someone else, maybe, and it wouldn't be out of the ordinary; but Heath?
The rest of the crew stayed put, while Heath rushed over, even more eagerly than the directors. Anson didn't believe he came just to say "congrats."
Heath looked at Anson, stubbornly meeting his gaze with pride, "Why not?"
Anson didn't push further, "Alright, then I misjudged the situation. Sorry, I misunderstood you, and I sincerely apologize."
Heath: …
That's it?
Actually, Heath was just being stubborn, and Anson's quick acceptance left Heath feeling awkward.
The atmosphere was a bit tense.
You could see Heath's expression freeze, his face muscles stiffening, his eyes reflecting a hint of despair, as if he might turn and leave any second.
The tension in the air thickened.
Then.
It was Anson.
Anson knew that the young and proud Heath would indeed walk away if things got awkward, which was entirely in character for him. If the stalemate continued, even a small joke could harm their friendship.
So, Anson decided to stop there. At the right moment, he skillfully broke the ice and naturally changed the topic without further dwelling on the matter.
"How was the last scene?"
Anson extended an olive branch. After all, he was experienced, with a mental and physical age far beyond Heath's. Taking the first step was no burden for him.
But clearly, Heath wasn't used to it.
He didn't expect Anson's response, and it was Anson who first offered a way out.
Heath scratched the back of his neck.
He knew he should apologize and admit he was just being stubborn earlier; but the words stuck on his tongue and wouldn't come out.
"Brilliant."
Heath said.
"I noticed you made some changes, especially during Rachel's confession…"
Rachel was shocked: Her? She didn't confess!
Heath seemed to sense Rachel's surprise, quickly glancing at her, his expression awkward and stiff as he nodded slightly, clumsily expressing his apology:
He meant Rachel's character.
"You paused for a moment, adding some space for contemplation."
Anson wasn't surprised that Heath noticed such details, and he responded with genuine interest, "That's what I was thinking."
"When you actually go back in time and change the past, what's your first reaction?"
Heath blurted out, "Happiness."
Anson chuckled, "Of course, that's one possibility, but Evan isn't that kind of person. His first reaction is doubt, doubting whether it really happened, doubting if he actually went back in time and changed the past."
Heath, "Makes sense."
Little by little, Heath's rebellious attitude faded away, entirely drawn into Anson's rhythm of conversation, without even realizing it.
Anson, "And when he realizes that he's only changed one thing, returning to the present where everything has dramatically shifted, where he easily gets everything he ever wanted, his first reaction is…"
Heath, "Worry that it's all fake."
"Bingo." Anson snapped his fingers, "Because it all happened so easily and quickly, it doesn't feel real; but what happens next?"
This time, Heath didn't answer—
Heath was the type of actor who had an innate talent for understanding characters and performances, his acting style was more about intuition than logic: "I feel it should be this way, so I do it."
That's why Heath's characters always have a unique, natural quality—a typical example of a talent born to perform.
Of course, this doesn't mean Heath doesn't think; he just approaches characters differently from Anson.
Unnoticed, the conversation had shifted into a professional discussion. The atmosphere had completely changed, and both Heath and Rachel were drawn in, unaware of the transformation.
Then.
Anson didn't wait for Heath's response.
"The next step is to seize it."
"Even though he's still filled with doubt and suspicion, the happiness he's always dreamed of is right before him. Even if it's an illusion, even if it's a dream, his first reaction upon realizing this is to grab it, hold onto it tightly."
Heath suddenly understood, "Like waking up from a dream, our first reaction is doubt, the second is to wish to return to that dream."
Even if it's fake, it doesn't matter.
Anson nodded slightly, "Grasping it at all costs, like clinging to a lifeline."
Heath re-evaluated Anson's performance, his eyes gradually lighting up:
So, this was Anson's approach. That sense of desperation, following hesitation and doubt, made his portrayal of the character's emotional journey complete, linking the seemingly simple and ordinary details together.
That's how a character becomes fully realized.