The Best Actor in the Vase of Meiyu

Chapter 1090: Careful Choice

Anson was serious.

"Walking with the Song" may be an opportunity, an opportunity to try to break through, an opportunity to take risks and challenges, an opportunity to reinterpret Joaquin Phoenix's performance.

A little bit exciting.

However, Anson was in no hurry.

The memory of watching movies in his previous life has almost disappeared, and there is still a difference between the audience's perspective and the actor's perspective, so he still needs to read the script.

Moreover, if Anson is really prepared to perform, the first thing he needs to do is to overturn and erase the impression of Joaquin Phoenix's performance, reconstruct a role with his own understanding, his own interpretation, and his own interpretation, and finally find his own performance framework and context.

Reading the script is imperative.

In this sense, Anson had no idea who Johnny Cash and June Carter were, and had no preconceived notions of their music.

This was a good thing, because Anson was able to recreate the character from scratch based on the script.

The script finally came into Anson's hands.

Edgar was still worried.

On the one hand, he could understand why the project had hit a wall for ten years in a row, being chaotic, bloated, narcissistic, and not much different from the expected effect; moreover, insistence like Kitchell and Mangold's that the actors must sing themselves was an unnecessary insistence that was unwelcome in Hollywood.

Sony Columbia finally gave the nod. In their opinion, June Carter's death was largely responsible, rather than Mangold's personal charm.

On the other hand, he also couldn't deny that this was indeed a breakthrough opportunity, a unique opportunity for Anson. Whether it was Anson's musical ability or the performance space left by the role, there was no doubt that this opened a door for Anson.

Although "Catch Me If You Can", "Eternal Love" and "Elephant" are not standard genre films, they are also not standard award season films.

Biographical films are different. They are typical award season films. Once Anson stars in one, it means he is about to push open the door of the Academy, demonstrate his determination and belief, and take the first solid step towards getting rid of the vase label.

As for whether it will be successful or not and what the effect will be, we can only wait and wait for time to reveal the answer.

At this point, some people may ask, even if Anson is ready to challenge biographical films and award-season films, isn't there a more suitable choice?
How could Edgar not have considered this? But things are not that simple.

In the past two years, Hollywood biographical films have seen a comprehensive blowout.

"Anytime", "The Pianist", "Frida", "Season 2", "Cat and Mouse", "A Beautiful Mind", "Ali", "The Long Road" and so on.

In addition, there are countless projects that are being established or have already started filming, such as "The Aviator", "Capote", "Good Night, and Good Luck", "Munich", "The Iron Fist Man", "Never Give Up", "Finding Neverland", "Being Julia", "Hotel Rwanda", "The Motorcycle Diaries" and so on.

Among them, just talking about biographical films focusing on music legends, projects such as "The Flow" and "Soul Singer" are also being filmed in full swing.

There are so many options.

But the key point is, first of all, is it appropriate?
"Soul Singer" focuses on the legendary singer Ray-Charles, who is black, so Anson is obviously not suitable. In addition, Anson is still young, under 21 years old, which is too young for a biographical film. The main active actors in Hollywood are still between 30 and 45 years old.

Second, both parties need to negotiate.

Although Anson is now very popular and has won the Palme d'Or with "Elephant", the label of a vase that is tightly attached to him has never been torn off, so that almost all the invited projects in Edgar's hands are commercial films.

A vase, a vase, still a vase,
While screening these scripts, Edgar took the initiative to try to open up the situation.

Edgar didn't tell Anson that he had actually been negotiating with a producer over the past period of time in order to get in touch with Martin Scorsese.

Everyone in the agent circle knows the story that Leonardo DiCaprio changed five agents before and after in order to work with Martin Scorsese. So why is it so difficult for agents to contact Martin Scorsese? Is it so difficult to say the above sentence?

Just to say it, that's not difficult, the real difficulty is convincing Martin Scorsese.

Old Martin is listed as one of the "Four Great American Directors" along with Steven Spielberg, George Lucas, and Francis Ford Coppola. He has been in the industry for nearly forty years. He has strict requirements for actors and is keen to work with actors he is familiar with. Robert De Niro is his favorite actor.

Therefore, old Martin is used to his fixed team, and the difficulty of inserting new actors is far beyond imagination.

In addition, Martin Sr. has no opinion on vase actors. He always insists on using dedicated actors who "do not seek to attract attention."

So, when Leonardo sincerely expressed his hope to be able to star in Martin Sr.'s works, he ignored her and didn't even raise his eyelids. His agent was always hanging around on the periphery, so that Leonardo had to keep changing agents, hoping to break the deadlock with the help of his agent.

What Leonardo experienced is what Anson is experiencing now, or to be more precise, it is what Edgar is experiencing.

Martin Scorsese was preparing a biopic about the legendary tycoon Howard Hughes. Edgar believed that Anson was the perfect choice and that this was a turning point in Anson's career. He tried to get Martin Sr. to give Anson a chance, or at least let them sit down and talk.

Unfortunately, all failed.

According to the latest news, Martin Sr. has chosen Leonardo DiCaprio to star in this movie, and they will work together again after "Gangs of New York".

This is old Martin. He used to be unwilling to even look at him; but after working together once, Leonardo became his exclusive team member.

Although Anson is now very popular and has had a successful collaboration with Steven Spielberg, old Martin already has a priority candidate in his mind and will not listen to other opinions. He is even unwilling to give Edgar a chance to display his eloquence and directly blocks Edgar out.

It was in this dilemma that Edgar realized that perhaps "Walking with the Song" was indeed an opportunity.

A key factor was Mangold’s desire to showcase the actors’ musical talents and tap into their personal understanding of music and art.

Putting aside other factors, just looking at this part, Edgar believes that this role may be an opportunity.

Mangold's insistence is considered "pretentious" and completely unnecessary in Hollywood. There is no need to force an actor if he is not good at singing. It is really simple to use a "masked singer" to help sing in the recording studio. But now it has become an opportunity for Anson, an opportunity to tear a gap in prejudice.

Including Edgar himself, everyone always thought that the August 31st band was just a hobby, but as time went on, this hobby changed more and more things, and it might even become the biggest turning point in Anson's career, which Edgar never expected.

(End of this chapter)