"Spider-Man" is a classic example of a high school coming-of-age movie, focusing on the growth of an ordinary middle school student. The film features a lot of content on school bullying, first love, and future uncertainties, which are significant reasons for the movie's success. Peter Parker's "boy-next-door" image resonated with audiences.
In "Spider-Man 2," the same narrative style continues, but Sam Raimi struggled to clarify his direction. On one hand, he clung to the high school coming-of-age theme, while on the other hand, he attempted to address the complexities of adult life. This tug-of-war resulted in a deeper theme that was undermined by immature and shallow storytelling.
Thus, Anson has been trying to reduce those immature parts that seem like unnecessary whining, without altering the overall tone of the film.
Anson looked at Sam and said, "Director, it depends on what kind of Peter Parker you want to create."
Sam pondered the words carefully. His expressionless face seemed distant but was actually deep in thought.
James, however, still found it hard to believe Anson. "So you voluntarily reduced your screen time?"
"Oh God, Anson, look at Tom Cruise. No matter what, he insists on increasing his screen time, ensuring he's always at the center. And you're…"
James was practically incredulous.
Anson's perspective was clear: when it comes to characters and a project, always choose the project.
Indeed, a standout character may leave a lasting impression on the audience, but an exceptional work can stand the test of time.
Given the choice between a great character in a bad movie or a mediocre character in a great movie, Anson would always choose the latter.
Yet Anson understood James' concern—actors need to solidify their position in Hollywood. In this ever-changing world of fame, no matter how good the project is, if the actor doesn't shine, it won't matter. Production companies still cling to the belief that a star can elevate the quality of a film, ignoring the importance of the director and writer.
Ultimately, it's about making a choice—focus on your short-term career, or take a long-term view of the future.
So, Anson didn't argue with James. He knew James was just worried about him. Instead, he teased, "Since my screen time is reduced, it means more screen time for you and Kristen."
James blinked, then turned to Sam, "Director, I think Anson's got a point."
They all laughed.
Even Sam chuckled, nodding in agreement with Anson's questioning glance. "We've finished revising Harry's part," Sam said.
James suddenly perked up, "Wow, how did you revise it? Does he now save New York overnight with his dashing good looks?"
Sam's mouth twitched slightly. "Is that all you aspire to?"
James was unapologetic. "Well, since I can't be Spider-Man, I should at least show off my charm, right?"
Sam turned to Anson, "It seems like the extra screen time you fought for Harry might go to waste."
James looked stunned, then turned to Anson in disbelief. "No way, man! Did you really fight for more screen time for me?"
Anson didn't need to answer; Sam confirmed it. "Yes, that's exactly what happened."
The entire story of "Spider-Man 2" revolves around Peter Parker. When Anson modified the protagonist's storyline, the supporting characters naturally had to follow suit.
To be more precise, adjusting the supporting characters' screen time serves to enhance the protagonist's arc. It's all interconnected.
Sam glanced at Anson. When it came to handling the actors, Anson was more experienced. Over the past few months, this had earned him Sam's trust.
Anson added, "Hesitation, struggle, and torment. Harry knows he shouldn't blame Peter, but he can't control himself. He doesn't understand Peter's silence. The kinder Peter is, the more convinced Harry becomes that Peter knows Spider-Man's whereabouts."
"In the end, Harry descends into darkness."