Reading quickly—
Not to memorize the lines, but to grasp the scene.
Of course, if Anson could have a photographic memory, scanning the lines and then delivering a flawless performance, word for word, it would undoubtedly be impressive.
But realistically, would such an "impressive" feat be enough to secure the role?
The answer was no.
The ability to memorize lines isn't directly connected to understanding the character or delivering a strong performance. At most, it would leave a lasting impression, but Anson believed he had already made a significant impression. Now, he needed to focus on what really mattered—demonstrating the depth required for the audition.
Rather than simply memorizing lines, Anson decided to focus on understanding them, building on the character impression he had already formed, and further showcasing his interpretation of the role.
Anson planned to leverage his strengths. In his past life, he had seen the movie "Spider-Man." Although he couldn't remember the exact lines, and the plot was somewhat blurry, the lines in front of him allowed him to recreate the scene, capture its essence, and bring his understanding to life in the performance.
So, while packing his bag, Anson quickly skimmed the lines.
Somewhat unexpectedly, it turned out to be this scene.
A thirty-second monologue where Peter Parker watches his crush, Mary-Jane, from a distance.
In the original comics, Peter Parker's first love was Gwen Stacy. This innocent romance had a tragic ending when Peter failed to save Gwen during a battle with a villain, watching helplessly as she died before his eyes.
This scene was revolutionary for the comics, as it depicted a superhero failing to save the day, especially his first love. When this storyline was published, it sparked a wave of controversy, but years later, it was recognized as a milestone that changed superhero comics forever.
Clearly, Sam wasn't fond of this storyline. In this version, Peter's first love was the girl-next-door, Mary-Jane, while Gwen didn't appear until the second iteration of "The Amazing Spider-Man," where her death scene was recreated in the second film of that series.
Between Peter and Mary-Jane, Peter harbored a secret crush on his neighbor, but the beautiful Mary-Jane had a boyfriend. The shy and introverted Peter kept his feelings hidden carefully.
The scene Ian and the others chose for the audition was very deliberate:
A monologue from Peter, silently confessing his feelings while watching Mary-Jane's retreating figure.
If that was all, it would just be a typical high schooler's admiration for a crush; however, the hidden significance of the scene was that Peter had just gained his superpowers.
In the movie, after Peter was bitten by the spider, he went home and fell into a deep sleep. Upon waking, he found his senses heightened, his vision sharpened, and his body improved—he no longer needed glasses. Although he hadn't yet realized his superpowers or understood what was happening, his mindset and demeanor subtly shifted.
Otherwise, why would Peter, who had always kept his feelings to himself, suddenly find the courage to approach Mary-Jane and secretly voice his thoughts?
In other words, the key was that Peter was transitioning from being shy to becoming slightly more confident, though not fully aware of it yet. He tentatively steps forward, trying to comfort Mary-Jane, who had been arguing with her family, but hesitates at the last moment, caught in a delicate emotional state.
The confession wasn't just a confession.
But the critical point was that Ian and the others hadn't provided any background information.
So, why didn't they provide any hints?
Perhaps they wanted to see how the actors understood and portrayed the mindset behind the confession, which, in turn, would reveal their interpretation of Peter Parker.
There was more to the scene than met the eye.
Anson's mind started working rapidly.
---
At this moment, Peter should still be shy, with his emotions and subconscious impulses tightly reined in by reason, yet barely able to control the intensity and fervor of his feelings.
So, how should Anson express himself?
Confession.
In his past life, Anson never confessed. Before the age of twenty-five, he didn't need to confess, and after twenty-five, he didn't dare to burden others.
Especially later on.
Standing in front of someone he liked but worrying about becoming a burden due to his difficult circumstances—he had no future, so what right did he have to hope for a future in a relationship? As a result, he swallowed all his words, carefully organizing his emotions and perfectly hiding them.
Wanting to speak but holding back, yet unable to hide it—
Unrequited love is this kind of emotion.
Packing his belongings took just a moment. Anson didn't delay but quickly scanned everything and efficiently finished packing. Even that brief time was enough to spark some thoughts.
Taking a deep breath, Anson picked up the script, not forcing himself to memorize it but instead browsing it repeatedly, trying to familiarize himself with the words.
Turning around and stepping back, Anson didn't stop midway but kept retreating, pulling the distance wider until he was almost at the end of the room.
A slightly plump woman chuckled, "Stop, stop, where are you going? We won't be able to see you."
Anson turned around, raised his hand as a signal, and even had the mood to make a joke, "Don't worry, I'll do my best to make sure you can see me clearly."
Hehe.
Ian and the others couldn't help but laugh softly; the tension had already eased before it even began.
Phew.
Anson adjusted his breathing slightly, not just to calm himself but also to leave a brief moment of silence before the performance began.
One second. Two seconds.
Then, he lifted his head and stepped forward.
Anson moved forward slowly, full of thoughts, but just as he was about to step forward, he abruptly stopped, an emergency brake controlling himself. His steps were slightly hesitant; he glanced ahead but couldn't help lowering his gaze, hesitating as he continued forward.
However, even with his head lowered, his eyes quietly lifted, silently watching ahead.
In the room, there was a hushed silence. Even the agent sitting in the corner couldn't help but look over. Now they finally understood what Anson meant—
Anson had returned to the front, only three steps away from the long table. The emotions in his expression and gaze were clearly visible.
Moreover, what was particularly special was how Anson approached slowly from a distance, emerging from the shadows. First, there was a subtle atmosphere, a vague outline forming in the mind, a hazy impression like smoke or mist. Then, it gradually became clearer as the smoke dissipated, finally allowing them to see those eyes clearly.
The entire experience subtly and silently captured their attention, making them want to explore, to investigate the true emotions in those eyes and the struggle on that face, to confirm their suspicions as they watched the person in front of them, mentally painting the scene he was in.
Throughout, there were no lines, yet their attention was firmly held.
This composure and calmness already stood out, with every gaze in the room focused on Anson, as if they could feel the camera's focus shifting.
The performance wasn't just a performance; it also constructed the lighting, camera angles, and space. The visual imagery came to life.
Fourth update.