Thinking about it carefully, The Notebook should be released next year, but it will still ignite a heated discussion and bring tears to the audience. From Ghost to The Notebook, it has been fifteen years, but the core of this genre of film hasn't changed.
Shows like Gossip Girl, filled with sensationalism and drama, continued to dominate the small screen in the early 2000s, sparking heated debates. Later on, series like Emily in Paris followed suit, staying relevant in the TV landscape.
So, it's no surprise that Sony Columbia remains committed to these kinds of love stories.
It's not just superhero films—most genre films' romantic subplots suffer from the same issues. The difference lies in whether or not they're handled with care.
Anson added, "The key issue is that film studios still define female characters in genre films as objects to be gazed at, waiting to be saved by the superhero."
Or to be more blunt, female characters in these films are still just "eye candy." As someone who's been reduced to just that, Anson understood this all too well.
Sam responded, "But isn't that how it's supposed to be?"
Anson shrugged slightly, "We could take a page from Alien or Terminator 2, where all the forces unite in the fight against evil."
Sam pondered this for a moment. While he didn't agree with Anson's view, he still gave it serious thought. "But Spider-Man isn't that kind of story. If we try to give Mary Jane more substance and impact, we'd need to completely change the direction of the script."
Anson understood. He knew it was still 2003, and the development of genre films was still on the rise. There was still room for exploration, and they hadn't reached a turning point yet. Creators wouldn't easily break the mold of the past twenty years of success. So, talking about how the "eye candy" nature of female characters might lack emotional depth might be a bit premature.
Sony Columbia clearly didn't grasp this concept.
And most importantly:
"Anson Wood" just didn't carry enough weight yet.
Anson's influence was limited. Despite Edgar fighting for better pay, status, and treatment, Anson's authority in the project was still far from sufficient.
Which wasn't surprising—
One step at a time.
From a supporting role in The Princess Diaries to the lead role in the Spider-Man franchise, Anson's rise had been rapid, but his foundation wasn't solid. He couldn't rush things.
Anson thought about it and didn't push further.
"Director, at the very least, we could add some subtle details, like in the first film, to make Mary Jane's lingering feelings for Peter more convincing."
Sam asked, "What kind of details?"
This was a tricky question.
How could they give the character depth and believability without overhauling the entire story?
Anson had a couple of ideas.
"Eye contact."
"You could add a few scenes where Peter looks at Mary Jane, and she unconsciously notices his gaze in the crowd."
"No dialogue is needed—just leave space for it to breathe. Give their glances and emotions time to ferment, allowing the audience to form an emotional connection and let the romance take root."
If you think about it, the script for Spider-Man 2 is too straightforward. Everything is spelled out clearly, which feels a bit childish. Sometimes leaving some room for interpretation and imagination can add more depth to the story.
Who says high school soap operas can't have substance?
Look at the 2019 show Euphoria, which tried to bring its own voice to the genre.
Sam seemed a bit hesitant.
For months, they had been working to craft an excellent script. Initially, they were worried that Anson, an outsider, might meddle and make things worse. But to their surprise, Anson's suggestions were both insightful and sharp, often leading to brainstorming sessions among the team of writers.
Behind his back, they sometimes complained that Anson was "adding to their workload." Even though script changes in Hollywood usually come with extra pay, the pressure was still there, and they couldn't sleep peacefully. However, when they turned around, they had to admit that Anson genuinely wanted to improve the film.
Over the past fifteen years, sequels had become more common, turning into a trend. There were examples like Terminator 2 and Aliens where the sequel surpassed the original. But generally speaking, bad sequels had become the new norm in Hollywood.
Nevertheless, for the sake of profit, Hollywood studios kept churning out sequels. Since they didn't need an original story, sequels were easier to produce. Plus, the fanbase from the original film usually guaranteed some level of success. Making a sequel seemed like a no-brainer.
Additionally, sequels often got more attention in the DVD rental market, which was more profitable for studios than box office returns.
In reality, while many sequels bombed, they still made money overall—that's an undeniable fact.
So, the pressure fell on the creative teams—
They had to produce something outstanding, or the studio would get the profits while they bore the brunt of the criticism.
Star Wars: Episode II was a cautionary tale.
Last summer, it was released with enormous anticipation, but the box office fell short of expectations. Still, it made a profit, so 20th Century Fox had no reason not to continue. The third film in the series was already in production.
The problem was, the film was slammed by critics. The backlash was everywhere, and director George Lucas was on the verge of a breakdown, even suffering from depression.
Even someone as established as Lucas wasn't immune. During the preparation for the third film, George couldn't handle the pressure and walked away from the set and Los Angeles altogether, telling 20th Century Fox there wouldn't be a third film. He officially quit making sequels.
Fox panicked and begged him to return. After much persuasion, George reluctantly agreed to finish the series.
However, Star Wars: Episode III became Lucas's final film as a director. After 2004, he never directed another film, transitioning fully to producing and staying behind the scenes.
Imagine the success of Spider-Man last summer—how incredible, how unbelievable it was, breaking records and making history. Now, all that history had turned into pressure, weighing heavily on the sequel.
Last year, Sam had witnessed George's struggles firsthand, and now it was his turn to feel the weight.
If even George Lucas stumbled with sequels, what chance did Sam have? Evil Dead 2 had been criticized for lacking originality.
Under this pressure, Sam couldn't stop his mind from racing. Since the beginning, he had been wrestling with the script, trying to balance his vision, audience expectations, and the studio's constraints. It was incredibly challenging.
Even though the movie was about to start shooting, he still lacked confidence.
Looking at Anson now, Sam paused as his thoughts surged again. Still, he maintained his composure, not revealing his emotions.
He simply asked, "Are you sure?"