Since films like Star Wars, Jaws, Raiders of the Lost Ark, and others solidified the concept of genre films, Hollywood has developed into a highly structured, industrialized industry over the past 20 years. Screenwriting has followed a similar path.
From the format to the font, from dialogue to notes, everything follows a template. The structure is so set that typically one page of a screenplay corresponds to one minute of film. While there may be slight variations based on a director's style, this general rule holds true for commercial films.
As a result, the length of a screenplay can often give you a sense of the movie's runtime. A script might range anywhere from 90 to 120 pages, and reading the entire thing is no easy task.
Let alone the fact that there were five scripts sitting in front of him.
In Hollywood, it's a trend that, while not true for all actors, 51% of them don't carefully read the script before signing a contract. They often delegate that responsibility to their agents, managers, or even assistants, PR reps, family members, or friends. Based on their feedback or summaries, the actors decide if they're interested.
In other words, if an agent or manager has poor taste, the actor's career choices could be a disaster.
Audiences often wonder why a particular actor ends up in a bizarre role in a terrible movie. But don't be surprised—it might just be the assistant's taste at play.
With this in mind, Edgar had already done a first round of screening and brought over a few projects worth considering.
Now?
Was Anson also planning to skip reading the scripts and hand them over to Noah?
Edgar was startled, turning to Noah, unable to hide his surprise.
This scene caused the smile on Anson's lips to spread.
Clearly, Edgar had misunderstood.
How should Anson explain?
"Hey, Captain, I've actually traveled back from the future, so I only need to skim through these scripts to make a decision. No need to waste time."
"Just give me a moment. I'll do a quick process of elimination, and the answer will be clear."
No, Anson didn't exactly respond like that.
In fact, he could've kept the scripts and told Edgar two weeks later that he'd read them all and was interested in a particular one.
But Anson didn't do that.
When he called Edgar over, he had already made up his mind.
"Captain, relax. This is my project, so of course, I need to make the choice myself."
With just one sentence, Edgar calmed down slightly.
"Have you ever heard the saying, 'You only need to read the first three pages of a book to know if it's worth continuing'?"
Edgar paused. "Hollywood has a similar saying: A film needs a hook within the first three minutes."
That's why many blockbuster films often open with a small crisis for the protagonist to resolve, creating a quick high point that grabs attention while also defining the lead character, especially in crime or action genres.
"Heh," Anson chuckled, "Yes and no."
"If it's just about the hook, Hollywood's industrial system is so refined that almost every screenwriter knows this golden rule. They all set up an attention-grabbing moment early on. But a good hook doesn't necessarily mean a great script."
"A screenplay is like a novel. The opening pages should reveal the structure, the skeleton."
"How is the story constructed? What's the style, the tone, the atmosphere? These early choices often reflect the writer's unique voice."
"Then, look at the last two pages. Even though genre films usually have happy endings, the way it's executed reflects the creator's personal touch."
"By focusing on these elements, you can quickly sketch out the characters and tone of the story. These are often the heart of a script."
"Of course, this approach doesn't determine the script's overall quality, nor should it seal its fate. But it does help you gauge your interest level. From there, you can decide the order of scripts to read or whether to bother reading at all."
Edgar still seemed a bit confused in the first half but didn't interrupt, patiently listening to Anson. By the second half, Edgar's eyes lit up.
Was this a rule?
Not exactly.
But it was certainly an interesting possibility.
Edgar looked at Anson. "So, you're saying you'll read the first three pages and the last two to make an initial judgment, then decide whether to continue?"
Anson smiled. "Exactly. This is why we need to communicate."
"I figure, since I now have some choice, and in the future we'll be facing many unknown options with our fates in our hands, we should sync up. We need to agree on the direction we're going."
"I'll share which scripts I like and which I don't."
"You'll share which scripts you like and which you don't."
"And we'll explore the reasons behind our preferences. This conversation will make our future work more efficient and ensure we're moving in the same direction."
"What do you think?"
As he spoke, Anson lifted the scripts in his hand, signaling toward Edgar.
Edgar, his tension easing, smiled once more. "Of course."
He paused. "To be honest, I'm curious to see what you'll think of just reading the first three and last two pages. Let's see if our impressions match."
In the past, they didn't have much choice and could only fight for opportunities. Sure, Spider-Man and Catch Me If You Can were projects they actively pursued, but that was, in a sense, also a form of choice.
Now, things were different.
They held the reins. Personal taste and vision would play a larger role. Edgar was curious about Anson's choices, as this was a new realm where they would need to refine their communication and understanding.
So.
Edgar sat back down, eagerly watching Anson—waiting to see him read.
This too… was an experience.
In no time, Anson held up the first script.
"I don't like this one."
Edgar blinked. "Why?"
Anson tilted his head. "A high schooler? Again?"
Edgar couldn't help but rub his nose. That's the limitation of being typecast. Once you succeed in playing a certain kind of role, you get offered nothing but similar parts. Actors often find themselves playing the same role over and over.
Matthew McConaughey kept playing the playboy, Sandra Bullock was always the ditzy sweetheart, Hugh Grant played the charming intellectual.
And on and on.
Eventually, they became pigeonholed, and other roles wouldn't even come their way.
Now, Anson was facing the same dilemma. He was probably Hollywood's most famous high schooler, having played them in all sorts of genres and scripts, to the point where the stereotype had stuck.
In a way, it was good—at least Anson had a clear label. But it was also bad, as the same mold was beginning to stifle him.
Edgar cleared his throat, caught off guard by how precisely Anson had identified the issue. He tried to defend it, "But it's different! Same high schooler, different feel."
Anson glanced at the script in his hand. It was none other than The Day After Tomorrow.
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