Hollywood:Starting out as an MV director

"If you want to show a character's inner struggle, don't just keep the camera on her face!"

"Besides her expressions, her body language is closer to her true emotions!"

"And the lighting—why is it so grimy? It's just going to strain the audience's eyes."

Faced with Ethan's questions, Patty Jenkins responded with the same defense: "I didn't! Ethan! I just wanted to portray the most authentic Charlize and the most realistic murder case, so I gave up on those things..."

"Give me a break, Patty!" Ethan saw things more clearly than she did. All her focus was on Charlize's acting, attempting to cover up production flaws with performances. As a result, the entire crew revolved solely around Charlize.

"Just admit it—you can't come up with striking shots or lighting that matches the mood!"

"But this movie isn't meant to be flashy..."

"Flashy? Visual language is that shallow to you? Or is it that your graduate professor didn't teach you to respect lighting and cinematography?"

Patty Jenkins had graduated from the American Film Institute at Cooper Union, making her an academic with solid theoretical knowledge. Unfortunately, her skills still fell short of real filmmaking standards.

Ethan pointed out her fatal flaw mercilessly: "And another thing—Charlize's makeup. Even if she's just a common prostitute, doesn't she need to dress up to attract business? No cover-up at all, just looking like a shrew! Are the drivers supposed to be that desperate to approach someone like her?"

Although the real-life figure wasn't a beauty, she was far more presentable than Charlize's portrayal, which deliberately exaggerated her unattractiveness to the point of discomfort.

This approach wasn't so much about authenticity as it was an obvious attempt to garner awards through calculated moves.

However, Ethan didn't demand Charlize change her look. Hollywood thrived on such tactics. What truly irked him was Patty's directorial competence and her completely misguided style.

"Crude! Everything about this is crude, Patty! Are you shooting a student film for your thesis?"

"I joined this production because of its potential, not to be a prop standing next to the 'flower'!"

Patty Jenkins was left speechless and fell silent.

She hadn't expected Ethan to be so unforgiving when angry. Though he didn't shout in front of the crew and only spoke to her privately outside the set, his sharp words still struck her deeply.

Hurt, she quietly entered the props van and stayed there for an hour before coming back out.

"Patty!" Charlize Theron, who had just finished her makeup, walked over to hug her. She shared a good relationship with the director and, after hearing from crew members about Ethan's criticism, immediately went to comfort Patty before confronting Ethan.

"Ethan, you owe Patty an apology!" Charlize stood with her hands on her hips. With her heavily applied makeup, she truly resembled the infamous female killer.

"Why?" Ethan, busy directing crew members to reset the scene, turned to face her.

"Why? You hurt her feelings! You shouldn't have spoken to her like that!" Charlize found Ethan's behavior puzzling. The polite, refined young man she had met before seemed like a completely different person now.

Ethan laughed. "Then what should I have said? Charlize, should I have said, 'Patty, you're doing great, but there's just a little room for improvement—should we tweak this part?'"

"..." Charlize Theron was momentarily silent before saying, "But you shouldn't question Patty's efforts with that tone. You don't understand the dedication she's put into this film..."

"That's nonsense!" Ethan interrupted her bluntly. "Charlize, you should be asking yourself this question instead."

Charlize frowned. "What do you mean, Ethan?"

"Do you want Patty to make a great film, or do you want her to make a film that revolves around you?" Ethan didn't hold back, tearing the issue wide open.

"If you want Patty to create a great film, she needs to focus on the cinematography, the set design, and the visuals! Not just locking herself in a room with you, discussing your performance every day. Right now, you're the sole highlight of this film, and as for Patty? Any random person could take her place and it wouldn't make a difference."

This was the crux of Ethan's dissatisfaction with Patty. Technical shortcomings could be improved, but if the creative direction was flawed, it was hopeless.

Patty's entire focus was on Charlize Theron. She knew her film couldn't compete with others of the same era in terms of production value or technical quality, relying solely on a strong script.

So instead of wasting time on technical improvements, she poured all her energy into showcasing Charlize's acting, using every trick to highlight her, hoping to make her the film's selling point.

But to Ethan, this was a shortcut, not true artistry. The film might as well be titled Charlize Theron and Her Useless Crew. It was entirely at odds with his standards for filmmaking.

Even with limited resources, proper planning of shots could elevate a film's quality.

But what was the current situation?

Whenever faced with a challenge, they'd just shoot a close-up of Charlize's face. Always a close-up, as if afraid the audience might miss her heavily made-up, unattractive face. It was pure laziness.

For Ethan, Patty Jenkins had already failed as a director. No wonder she only had Wonder Woman to her name later.

Even that film was average—saved by Gal Gadot's looks, Zack Snyder's guidance, and a forgiving era for superhero movies, earning over $800 million at the box office.

Take away those factors, and it was just another mediocre popcorn flick.

After listening to Ethan's words, Charlize's previously angry demeanor deflated.

"You're right, Ethan. I shouldn't place myself above the entire film." She had realized this too but hadn't tried to change it, as it aligned with her own goals.

Without aiming for an Oscar, would she have taken on such a low-budget movie?

Now, though, it seemed she had overdone it, turning the entire film into her personal stage.

"It's good you understand, Charlize. Actors and films complement each other. Great movies produce great actors. Of course, if you only care about your own spotlight and don't mind the criticism, then that's your choice."

Ethan mocked, "But don't be surprised if people say, 'Charlize Theron won an Oscar? For what? Monster? Isn't that the film where she's the only highlight and the rest of the crew might as well be props?'"

His words weren't pleasant to hear but struck deep, leaving Charlize embarrassed and reflective.

The tension between them dissipated, and Charlize stopped pressing Ethan, instead turning to talk with Patty.

When the two returned to the set, their expressions had returned to normal, suggesting they had worked things out.

However, as Patty scanned the set looking for Ethan, she noticed something had changed.

The previously chaotic scene was now silent. The messy lighting had been carefully adjusted to cast uneven shadows among the trees.

These shadows gathered around the picnic blanket, gradually closing in, resembling both lurking threats and death itself.

The actor playing the soon-to-be corpse sat on the blanket, looking relaxed and oblivious to the ominous atmosphere.

This single shot exuded tension, and Patty could already imagine how gripping and nerve-wracking it would look in the film.

Charlize Theron, too, found inspiration for her entrance in this lighting, feeling a surge of ideas for her performance.

Seeing the two standing still, Ethan turned to them after finishing his adjustments. "So, are we ready to shoot now?"

....

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