"Harris, should we focus on the upper body or the lower body?"
Called upon to assist, Anson didn't hesitate. He picked up the reflector board and assumed the role of a camera assistant, skillfully getting straight to the point.
Harris glanced at Anson. It seemed this actor had some understanding of the other roles in the crew, but there wasn't time to praise him now.
"…The ceiling," Harris replied with an unexpected answer.
Anson looked up at the ceiling, pondering silently:
If the light is directed onto the ceiling, it would softly and naturally diffuse downward, making facial expressions clearer and transitions between light and shadow more delicate.
However, this was just his own guess. Since he wasn't a professional, the actual effect would need to be confirmed on camera.
Undoubtedly, this was an intriguing process:
If an actor can understand the intentions and working style of the lighting, camera, and director—just like when studying costumes for the "Friends" production—perhaps they could more accurately convey emotions to the camera.
So, would this be considered a representational approach?
This is a style rooted in formal education, different from the Method Acting or immersive approach that demands complete immersion in the role. Instead, it's about interacting with the crew before fully committing to the performance, constructing a framework and context for the character.
Indeed, filmmaking is a delightful endeavor, always full of surprises!
Though his mind was racing, Anson remained focused—
He carefully observed the interaction between the actors and the camera.
Harris, handling the camera, paused slightly. He could notice the subtle changes in the reflector, allowing the space captured by the lens to take on a nuanced change. A delicate aura quietly spread across the frame.
Involuntarily, Harris held his breath, focusing all his attention on the camera.
It was different from what he imagined… completely different.
This scene, as seen by others on set—not just Harris—stirred ripples of surprise.
Alex Frost stared at Anson in astonishment and then turned to Eric Deulen beside him, trying to get a reaction.
Unfortunately, he got none.
Eric's cherubic, round face was filled with excitement. Even though it was the second day since joining the "Elephant" crew, he still couldn't believe this was happening—
That's Peter Parker!
For heaven's sake, that's Peter Parker!
Just getting a role in a movie through an audition was crazy enough; to think he was going to act alongside Peter Parker!
Just imagining it made Eric's wildly beating heart almost stop. He tossed and turned all night, unable to sleep. Every time he thought about it, a silly grin crept onto his face.
After all, Eric was just an ordinary high school student in Portland—slightly shy and introverted. His life had nothing to do with movies, Hollywood, or the glitz and glamor of fame, and he never dreamed of having any connection with Hollywood.
And now?
Not only could he see Peter Parker up close, but he could also watch him act!
Eric had to muster all his strength to control his urge to scream.
Alex, seeing Eric standing there dumbfounded, frantically looked around for someone to share his excitement with. Finding none, he nudged Eric with his shoulder.
Finally!
Eric snapped back and turned to Alex, their eyes locking—
Madness! Absolute madness!
Alex: Did you see that? Did you just see that? Anson picked up a reflector board! Just with one word from the cameraman, the superstar immediately took on the role of a camera assistant. Is this for real? And he's so focused on studying the lighting—my God, what is happening here?
Eric: That's Peter Parker! Ahhh, that's Spider-Man! I'm acting with Peter Parker; pinch me!
Though their thoughts conveyed entirely different ideas, it didn't stop them from celebrating together with wild excitement.
To be precise, the entire crew was filled with a unique atmosphere; whether it was Gus or Anson, the mere presence of a film crew in a school was exhilarating.
When the crew arrived at the school, the initially excited students were slightly disappointed, thinking, "Is that it?"
A team of about a dozen people looked like a ragtag band; if it weren't for Gus's reputation and the school's confirmation, one might suspect it was a scam.
But the disappointment was short-lived. When the casting began and they found out Anson was the lead, the ordinary high school was thrown into a frenzy again, still unable to believe that this was really happening.
In any case, "Elephant" had officially started filming—
Gus didn't rush to immediately cast the actors but instead heeded Anson's suggestion to slow down and waited for three days.
Gus's vision didn't include a script or dialogue; the camera aimed to capture a slice of ordinary life in this high school. How the students behaved daily would be how they appeared on camera, with no need for embellishment.
Thus, Anson, an outsider, might stand out.
Obviously, this wasn't the goal.
So, Anson thought he should approach this as a method actor, truly experiencing school life for a few days and blending into the school environment as much as possible, both as an observer and a participant.
Gus mulled over this and agreed immediately—
He also wanted to observe the school's daily life as an observer. His criteria for selecting actors were based on authenticity, aiming to be as close to the characters as possible.
But there's an important point to note: a mockumentary isn't a true documentary. A film has a story; its characters have roles to play. No script doesn't mean no plot, and presenting images in a documentary style doesn't mean the director has no artistic creation. Nor does it mean Gus is just wandering around campus with a camera.
Naturally, Gus needed to choose actors based on his mental image of the characters and build the movie's storyline based on their daily lives.
Movies, derived from reality but elevated above it, involve a process of artistic recreation—
Ninety percent reality, combined with ten percent artistic processing and creativity, blurring the lines between reality and art, ultimately creating a unique film.
So, Gus and Anson "laid low" in the school.
Gus was worried Anson might blow his cover, but he didn't expect Anson to dye his hair bright blonde—like a radiant Apollo.
Gus thought Anson had gone mad.
But unexpectedly, this striking blonde hair turned out to be the perfect disguise. When people saw Anson for the first time, all they noticed was the blonde hair. Even if he looked familiar, the visual impact of the hair was so strong that they instinctively dismissed the idea that it was Anson.
Until the casting ended, someone still asked,
"Where's Anson?"