From Flower Vase to Film Emperor in Hollywood

Marta, in the end, still lowered her head and admitted defeat—

Although David Crane's face was unbearable, compared to being depressed and losing face, surprise still took the upper hand.

She admitted that she had misjudged, admitted that prejudice had blinded her, and admitted that Anson had brought surprises.

Without a doubt, this was indeed a harvest, an unexpected discovery.

The feeling was like digging for treasure.

Originally, she had lost hope and was uninterested, mentally prepared to dig out a pile of scrap iron and garbage, but unexpectedly, she dug out a pile of diamonds, jewelry, and gold.

Caught off guard, all the complaints, all the烦闷, all the憋屈 were no longer important, joy and happiness took the upper hand, and even David Crane's "I told you so" face could be completely tolerated.

Marta simply and neatly admitted her mistake, only hoping to quickly put an end to it, shut David Crane up, and move on to the next chapter as soon as possible.

"Honestly, how did you see it? Was his audition really that outstanding?"

David Crane raised his chin, revealing an arrogant expression, "Intuition, it's just intuition, there's no special secret.

What, are you particularly envious? You can't envy this."

Marta: … …

If she could, Marta really wanted to strangle this guy; she couldn't stand it!

But!

Considering that the sixth season was coming to an end, she still needed this guy's screenwriting and negotiation skills to take the next season's income to a higher level; this guy played a key role, so she would be generous and endure it for the time being.

Inhale. Exhale.

Then.

Marta regained her sanity, "He shared some inspiration with Deborah, which I didn't pay attention to at first, but now I think, maybe we can expand on some things."

David Crane, "What do you mean?"

Marta glanced at her partner; the foxy look of cunning in his eyes could not be concealed by his face of humility and eagerness to learn.

Obviously, he already understood her meaning, but he just wanted her to say it herself.

Marta met David Crane's smiling gaze, word by word, grinding her teeth, "I mean, maybe we can create another episode script for the character of Paul."

David Crane showed a surprised expression, "Marta, really? Are you saying that we should give Anson another chance to perform in another episode?"

Marta: … …

This guy, walking outside, wouldn't he really get put in a sack by someone?

However, watching David Crane's childish behavior, Marta was relieved instead.

"Yes, that's right."

"David, I admit, I misjudged him, Anson…"

A pause, Marta turned her head to look ahead; Michael and Anson, along with other actors, were chatting and laughing, the atmosphere harmonious.

"He does have a unique charm."

"Especially when performing, he is refreshing and confident, calm and vivid; you have to admit, he can easily grab the audience's attention."

No awkwardness, no restraint, but a generous admission.

"I think we should give Paul's character more room to develop; it just so happens that we are now considering how to fill in the following content."

"Right?"

As a screenwriter, Marta has also been thinking—

It's still a secret, but in fact, Marta and David Crane have completed the creation of the sixth season finale and successfully finalized it.

In the twenty-fourth and twenty-fifth episodes, they will use a two-episode broadcast to complete the major event of Chandler proposing to Monica.

They are certain and sure that the end of this season will still usher in a ratings frenzy, and win them bargaining chips in the upcoming salary negotiations.

Now, the problem before them is, what content should fill the twenty-second and twenty-third episodes?

As the end of the sixth season, and a prelude to the final climax, they can't just deal with it casually; they still need a sprint to push it forward.

It was precisely because of this that Marta was particularly angry when she learned that David Crane had chosen a vase to parachute into the twenty-first episode as a guest star.

But she never expected that a twist would occur, and David Crane's adventure would become a stroke of genius; the inspiration in Marta's mind was constantly erupting.

Everything originated from Anson.

Just watching Anson's performance, endowing Paul's character with charm, even Marta herself had not determined what kind of character Paul should be, but in the process of watching the filming, she gradually filled in the flesh and blood, making the character full, and different heterosexual charms began to come to life.

Especially that accident—

The deviation that could have interrupted the filming and caused an NG unexpectedly allowed Paul's character to develop edges and corners.

Then.

Marta became eager to try, with an urge to sit in front of the computer now, fiercely hammering and ravaging the keyboard, turning inspiration into words.

Perhaps, continuing to use Paul as the core to create the twenty-second episode is a good idea.

Marta looked at David Crane.

"Anson told Deborah that he said the character could be a tough guy, tough on the outside, but actually soft on the inside, and might secretly shed tears watching his favorite movie, such as 'E.T. the Extra-Terrestrial'."

"I thought about it further, and the character could be a playboy, suave and unrestrained, but actually innocent at heart; his favorite movie is 'An Affair to Remember'."

Whether it's a tough guy with tenderness or a playboy with innocence, such contrasts are magic weapons for creating comedic characters, common and always effective, ultimately to create laughs.

As she spoke, inspiration exploded completely.

"Did you notice the accident just now?"

"I have an idea; Paul has always been very strict and harsh with Ross, so that Ross has always been constrained, which is the main line of the twenty-first episode."

"Coming to the twenty-second episode, we create an accident, an occasion, where Ross discovers Paul's vulnerability; don't look at how free and unrestrained he seems, but he seems particularly nervous when dating Rachel, and then Paul stands in front of the mirror, constantly cheering himself up, increasing his confidence."

"Even a little clumsy and a little simple."

"After that, when Paul suppresses Ross again, Ross will take this matter out to threaten Paul, forcing Paul to shut up and remain silent."

"Thus, a subtle balance is reached between the two."

Truly excellent character creation requires a vein, an arc.

In real life, people are not like this; many people may always spin in place, and some people may retreat if they don't advance; not everyone can grow and transform.

But this should not be the case in the creation of television and film; often, an arc is needed to allow the characters to complete a stage of transformation and growth.

Without an arc, such characters will appear thin, lacking the ability to awaken the audience's resonance.

Comedy is the same.

Marta's inspiration completed such an action; with only the twenty-first episode, Paul would be a vase character making a cameo appearance, responsible for suppressing Ross and being suave from beginning to end; that would be all; but adding the twenty-second episode can make the character full.

Flesh and blood and arc, it all comes out at once.

It's good for the character and the plot.