Little Miss Sunshine was an inspirational film, both on-screen and off.
On-screen, it depicted an ordinary family with countless troubles, each member feeling like a "loser" in life.
Yet, despite this, when the youngest child wanted to enter a beauty pageant, the whole family rallied together—supporting her, helping her succeed. Through their laughter and efforts, new life and hope emerged.
The film's message was clear:"Life is not just about the drudgery in front of you; there's poetry and the distant fields as well."
Off-screen, the film was even more inspirational.
Back then, Isabella had heard that the screenplay had been in development for many years, but no one believed in it, so it never received funding. Then, one day, fortune smiled, and the movie was made on a budget of less than ten million dollars, earning over one hundred million at the box office and winning an Oscar.
Isabella no longer remembered the exact awards, but with tenfold returns and an Oscar, refusing the project would have been absurd.
Yes.
To Isabella, this project was the future she had been waiting for—outside of Harry Potter.
Why didn't she immediately accept upon discovering the opportunity?
It was simple: First, she didn't have a superhuman memory; she didn't know who wrote Little Miss Sunshine, so she had to read the script fully to confirm it matched her past-life memories.
Second, she didn't want to lose leverage in negotiations. At the moment, Endeavor was approaching her for collaboration—if she accepted immediately, she'd be turning initiative into passivity. That would be foolish.
Thus, after confirming the script was indeed Little Miss Sunshine, Isabella decided to take on the project—but she didn't have her mother directly contact Endeavor. Doing so would still put her at a disadvantage. Maintaining control was key.
The next day at noon, Isabella approached Columbus again to discuss the project.
She wanted to see what ideas this older guy had.
Columbus wasn't new to the industry; he immediately understood Isabella's intentions.
"Isa, you like the story?" he asked while eating.
"Mm-hmm."
The girl nodded like a woodpecker.
Columbus paused for a moment, then shook his head. "Isa, I respect your taste, but I need to tell you a reality: no matter why you like this story, you actually can't take this script."
"Why?"
Isabella was puzzled.
"Simple reason…"
Columbus didn't beat around the bush. "The first reason, as I said yesterday, is that it doesn't meet commercial film standards. No matter which company Endeavor shows it to, they likely won't secure investors."
"So this project is hard to get off the ground."
"I have confidence in that."
"Oh… and the next reason?" Isabella accepted this.
In her past life, Little Miss Sunshine had indeed been a difficult project.
But when Columbus said "the first reason," it implied there were many issues with the project in his eyes. Though it wasn't class time, Isabella wanted to peek into how Hollywood professionals evaluate creativity and greenlight projects.
"Okay, the second reason is that the story's setting doesn't fit your image."
Seeing Isabella listening intently, Columbus set down his spoon, propped his elbow on the table, and counted on his fingers. "Isa, tell me—what's your public image right now?"
'?'
Isabella frowned slightly but realized the question a second later.
"You mean Hermione Granger?"
"Yeah~"
Columbus nodded. "Now, everyone sees you as Hermione Granger. And the film version of Hermione has a strong persona: you're beautiful, talented, a highly intelligent woman accepted by both children and adults."
"So in this situation, recall what the protagonist was pursuing yesterday?"
"A beauty… pageant?"
Isabella hesitated, realizing what Columbus was implying.
"Director, you mean Hermione Granger can't be coquettish on screen?"
Snap!
Columbus snapped his fingers, smiling. "Exactly! Miss Granger! You know what you can and cannot do!"
Classic screen characters are hard to create and even harder to maintain.
Once a character leaves a deep impression on the audience, people want that beauty to remain, hoping the actor continues playing the role.
This desire is a kind of psychological obsession, but it's also why a star can remain popular for decades.
Take Harrison Ford: he's Han Solo for life.
In real life, he had all sorts of negative press, but those were trivial matters. He wouldn't act against the heroic image portrayed on screen—or even if he did, it wouldn't reach the media.
Most of the news about him? Flying planes in his seventies—
Dangerous, yes, but no one cared.
Because Ford's on-screen image is wild and free, so him flying at seventy is "normal."
Especially after fifty years of fame, when his fans aged or passed away, seeing him still flying represented youth itself.
Tom Cruise is similar—he's Ethan Hunt for life.
Cruise became famous for his looks, so even in old age, he emphasizes remaining handsome. Anti-aging news is everywhere, some methods against biology, but fans still cheer.
Why? Because they love him being handsome, resilient, and striving!
If he weren't, fans' youth would metaphorically die.
Hollywood formulas may be ruthless, but reality doesn't bend to personal will. Global fan culture is the same.
Thus, after playing Hermione, Isabella truly couldn't touch roles opposite to that persona.
Otherwise, she'd destroy audience and fan goodwill.
Most importantly… Warner wanted to make money.
"Okay… okay…"
Isabella understood that owning a classic role and merging with it guarantees lifelong security.
This reason made her realize Little Miss Sunshine might truly not be for her—her previous "future theory" might have been mistaken.
As she sighed, Columbus added: "There's actually a third reason."
"That is?"
"The project you like belongs to Endeavor."
"Isn't Endeavor trying to monopolize production?"
"If they only talk about monopoly, the Big Six might laugh but not take it seriously. But if they truly act on it… even if Warner lets you do it, the other five studios would block it."
"After all, you're Hermione Granger now."
"The Big Six haven't developed your audience yet, and Endeavor wants to enjoy it first?"
"Do they deserve it!"
Columbus shrugged.
"Hahaha~"
Isabella laughed, realizing she hadn't considered this.
When an agency provides packaged deals, it's already obnoxious to the Big Six. Now, they want to turn studios into cash machines, strangle their traditional production business?
If they did it secretly, it would be one thing. But openly? The Big Six wouldn't let themselves be coerced otherwise. These are the rules of surviving Hollywood's golden age—you had to fight to live.
Their rivals back then? The Rockefellers. General Electric.
"Okay… I give up…"
Columbus' reasoning was solid and realistic, so Isabella decided to say goodbye to Little Miss Sunshine.
There's no need to smash your head against the wall when you're not a Scorpio.
Even letting go, she still felt deflated.
Seeing her eat in sulky frustration, Columbus was curious. "Isa?"
"Hm?"
"Do you really like that project that much?"
"Uh… not really…"
Isabella hesitated, then honestly said: "I like it because I don't know what else I can do besides filming Harry Potter."
She was clear—she didn't know where her future lay.
To Columbus, this was the classic dilemma all child stars face: confusion.
Fame at a young age brings adoration, but what follows isn't enjoyment—it's endless uncertainty.
Child stars can't return to school, leading to social detachment.
Yes, early work leads not to integration, but separation.
When you have commercial value, work flows, but after decline? You won't find friends. You've been on set during school years, grown apart from peers; colleagues and classmates are entirely different concepts.
Almost every child star eventually falls into this abyss after their peak.
If you had to describe it: Past glories vanish; no friends or family nearby.
Even fools feel pain then; smart kids…
Columbus leaned back, eyes full of emotion.
Smart kids seek paths during their peak—but it's often embracing endless pain early.
However, Harry Potter was the best project compared to others. Many kids on set meant friendships like school, seven books to write, seven movies to shoot. Plans succeeded, everyone secured wealth to enjoy life.
Still…
Even if the other kids faced minor psychological issues, seeing Isabella slump her head, Columbus felt… pity. Not just because she was cute, but she truly needed a project.
Other kids had projects—Daniel had several, Rupert and Bonnie had openings. Isabella, the best in the group, had nothing? He couldn't stand it.
So…
Watching Isabella shove the last piece of short rib into her mouth, Columbus, lacking appetite, tapped his desk.
Tap-tap-tap—
"Hm?" Isabella looked up.
"I'm asking seriously."
Locking eyes, Columbus said: "Do you truly like the story from yesterday?"
"Uh… not really…"
She admitted that if the script wasn't Little Miss Sunshine, she wouldn't have liked it.
Sigh. Her biggest flaw was honesty.
Her hesitation confirmed Columbus' suspicion. Clearing his throat, he smiled: "Okay, if you truly like that story, I honestly wouldn't know how to communicate with you now."
"Since you don't really, I think I have a way to get you to do it…"
"Really?"
Scratch—
Isabella perked up immediately, like getting a buff in a game.
"Of course."
Isabella's excited reaction made Columbus shake his head. "When you don't truly like the story, the three problems I mentioned just now can all be solved. For example, if the script has no selling point or the setting doesn't suit you, we can just change it."
"There's no such thing as a perfect script; all scripts are refined slowly over time."
"As for how to change it… I don't have time to do it for you, but you can revise it yourself and then show it to me."
"I know you haven't studied screenwriting, but it's simple. Hollywood emphasizes pacing: when a twist occurs, when a scene needs to be emotional—these are fixed. And things like shots, timing, and lighting are director concerns; the writer doesn't need to worry about them. So at the start, you only need to answer one question: write a story that fits your persona. Once the story exists, the outline can follow."
"And how to write the story…"
"Uh, that's up to you. But I can give you an idea. We said the beauty pageant theme doesn't suit you, so let's change it to something else. For example, last year you became an actress from scratch?"
"Okay, becoming an actress can be the protagonist's goal."
"Exactly that simple."
"When creating it, just remember one thing: don't change the story type. If you change the type, it's not a rewrite—it's a new script. Otherwise… um… make the goal big enough."
"Hollywood's audience is global."
"So the unspoken rule here is: even small stories need grand narratives."
"Oh—"
Isabella's eyes lit up.
She thought Columbus was right! Little Miss Sunshine was a classic, but if she couldn't do it, that classic had nothing to do with her.
So instead of waiting idly, why not directly adapt an existing classic? Keep the core intact while fitting her public persona. That should maximize her chance of success.
Yes! Like Columbus, she hadn't studied screenwriting! But he said he could read it—he was a professional, and his projects had been market-tested. Having someone like that oversee her work meant even if she couldn't write perfectly, she could still dare to try. A boat can be battered a thousand times and not sink!
So…
That evening, without work, Isabella sat down at her dorm desk after dinner.
Biting her pencil, her mind swirled with ideas: "Chris said the beauty pageant theme doesn't suit me, so I'll change it to actress…"
"How would an acting contest work? Hmm… oh! I can move the location from the U.S. to the U.K.! In Little Miss Sunshine, the protagonist goes to Florida for a pageant. I can go to London's West End for a children's theater competition! The protagonist wants to be an actress—okay, check!"
"Then, Little Miss Sunshine is a road movie? The writer wanted to explore a family's life? I can set the protagonist's departure in the English countryside, yearning for the West End stage! Hey, that's still a road movie!"
"The brother reads Nietzsche? Wants to be a fighter pilot? That doesn't fit the UK; their air force is terrible. Change it to a sister instead—a sister who dreams of studying art in Vienna but fails? Hmm… that works. Then add some details: after failing, she dislikes painting, but when her younger sibling wants to compete, she still paints a piece for her…"
"Wait—that's Catherine's behavior!"
Isabella wrote enthusiastically.
Since Maggie Smith had said it was fine to base characters on real people, and Columbus said she didn't need dialogue in the story—just the complete narrative—Isabella only needed three hours to finish her adaptation before midnight.
Um… calling it "creation" might be generous. She was just modifying an existing script.
Excited to show off her "talent," she hesitated—midnight seemed too late to approach Columbus.
So, she quietly tiptoed to Catherine's room and knocked.
"Who is it?"
Catherine, who had gone to bed at ten, was groggy.
"It's me," Isabella whispered.
Catherine, confused, opened the light and "invited" Isabella in.
"Oh! Shxt! You woke me up at midnight just to show me your story?"
"Yes!"
"Why not tomorrow?"
"I just finished… I'm excited…"
Isabella looked pitiful.
Catherine thought it wasn't excitement—it was delirium.
But seeing her insist, Catherine squinted and looked at the story—the outline.
In just over three thousand words, she finished reading.
She admitted: a story about an English countryside girl chasing dreams in the West End was inspiring.
But—
"I don't think this story works," Catherine shook her head.
"Why?"
Isabella was confused. She had been carefully adapting the script!
"Your goal is too niche."
Catherine knew Columbus had asked her to revise the script.
Also, during dinner, Isabella had said the protagonist's goal should be bigger: "Although the West End is famous globally, it's not enough now. It can't compete with film."
"Also, you wrote a children's play. If I were the audience, I wouldn't be interested."
"Acting is hard to judge competitively. Whether someone acts well is subjective."
"And more importantly, if I'm not mistaken, you played Hermione instinctively, right?"
"So you wrote a script that requires acting skills?"
"Wow~"
"You're making it hard on yourself."
"…" Isabella went silent.
Indeed, acting is hard to compete in; children's theater is niche; and someone who acts naturally wrote a story requiring performance. Oh—
She really was a bit foolish.
"So I wasted the whole night?"
Isabella felt disappointed. The direction was wrong—everything lost.
But Catherine disagreed. "Everything else is fine; just change the protagonist's goal."
"Acting is hard to showcase, but… oh, why not music instead?"
"Piano competition, a world-class show, and the protagonist's goal is to rank in the UK division, but…"
"Eventually she reaches the world competition?"
"How about that?"
Isabella thought it could work.
A countryside girl, passionate about music, aims to rank in a regional piano contest, ultimately making it to the world stage—this has a sense of upgrade and repeated triumph.
But—
She paused. A countryside girl in the UK likely couldn't learn piano—logical flaw.
She could only sing, and without choir access, she had to rely on instinct.
Yes, many think Westerners excel at music because of choir, which is partly true and partly false:
True—it's a common musical foundation for poor children. False—choirs historically didn't admit girls, only boys.
At St. Paul's Cathedral in London, all choir members are boys.
So if the protagonist is a rural girl, music or choir doesn't work.
"Wait!"
"A girl wants education but can't attend school—that's a conflict!"
As Isabella was about to reject Catherine's suggestion, she realized it was perfect local adaptation!
A countryside girl loves music but has no money or choir access, so she's self-taught. Her lowly background mirrors Little Miss Sunshine.
One day, she wants to join a singing contest, family doubts her—like the movie's "loser" family but radiant protagonist.
From countryside to city, family struggles mirror Little Miss Sunshine's emotional journey.
With family support, she wins the regional championship and advances to the world stage—pure feel-good ending.
Most importantly, with singing…
"Oh! My! God!"
"I know how to adapt the plot!!"
Isabella was ecstatic. "Keisha, you wanted me to surpass Robbie Williams, right? So let's make it singing! Protagonist loves singing! Competes! Talent-focused, perfect for rural origin!"
"The protagonist uses talent and self-teaching to defeat all competitors! Fits Hermione's persona and delights the audience!"
"As for the competition structure… integrating it with a road movie…"
"Keisha, how about calling the contest The Voice?"
"We can design a three-stage competition, advancing step by step!"
Notes:
In reality, Little Miss Sunshine was hard to make because Endeavor wanted to control the project. Initially, James Schamus, Ang Lee's trusted producer, planned to develop it, but he gave up when Endeavor refused to relinquish control. Eventually, a small studio produced it, Fox bought the distribution for $11M plus 10% of the box office—a non-standard deal in Hollywood.
British choirs didn't admit girls for over 900 years; only in 2022 did St. Paul's Cathedral accept two girls. In Germany, there were lawsuits about female exclusion from choirs. Non-religious children's choirs also historically excluded girls.