Chapter 18: Playboy Philip?

"Is this Rachel also on the audition list?"

Facing the producer, Gregory, the only female audition officer in the room, Milani Feagin, the assistant director, frowned as she flipped through Rachel's file. The unspoken part of her question was clear — how could such a little-known actress be auditioning for the lead role?

Milani was arguably the most professional person in the room, focusing solely on the artistic aspects. She seemed oblivious to the subtle shift in the room's atmosphere following Rachel's arrival.

Her voice, though not concealed, hinted at her skepticism.

Rachel, however, took it in stride. With her experience in hundreds of auditions, she had grown resilient to such doubts. Initially embarrassed, she now focused solely on her performance. Hearing Milani's implied doubt, Rachel calmly introduced herself, highlighting her professional training and strengths.

Her well-measured introduction softened Milani's expression. She nodded approvingly and started instructing Rachel to make various expressions for the camera, observing her on-screen impact.

"Turn right, show a quarter of your face. Good, now left, a quarter, then three-quarters..."

Moviegoers never realize the complexity behind seemingly simple shots. Every aspect of an actor's performance is scrutinized. It's easy to criticize an actor's skill, but performing convincingly is far from simple.

Imagine perfectly matching a sad expression to the scene's mood without feeling awkward. On camera, every little expression is magnified, whether good or bad. That's why some shots captivate while others bore.

Rachel, a specialist graduate with some acting experience, managed well under the scrutinizing eyes. She demonstrated each emotion steadily and adjusted quickly.

Milani internally complimented Rachel's expressions. She wasn't referring to her physical beauty. Not every pretty girl looks good on camera; some might appear ordinary.

Being photogenic is different from being pretty.

Rachel showed her ability to express emotions fittingly for the film, impressing Milani. Director Robert Marshall nodded and handed her the script.

"Cough, okay, Rachel, you're familiar with the film's plot, right?" Robert Marshall coughed and continued after her affirmative response. "Then, please act out this scene."

Rachel quickly scanned the brief script segment. It was a short dialogue. She prepared emotionally and signaled her readiness.

The scene described the protagonists, after a brief escape, settling into a motel. The male lead grows increasingly attracted to the female lead's unique charm, while she finds temporary peace in his protection, leading to a delicate emotional interplay.

Holding the script, Rachel's expression turned slightly bewildered yet calm. She extended her slender arm, gracefully chasing the dim light in the motel room.

As it was the male lead's line next and without a counterpart, she left a brief pause before continuing her solo performance.

"You see... my arm under the light... has it become something else?"

Rachel's body trembled slightly, as if she hadn't fully recovered from her nervousness. Her speech was tinged with the confusion characteristic of a schizophrenic, filled with fear, anxiety, and various negative emotions.

She recalled the next line of her counterpart, then abruptly stopped her motion, turning her head to face the camera, hysterically raising her tone: "Where there is light, there are shadows!"

Then, her expression froze, her eyes became unfocused, gazing ahead as if seeing through the camera into an endless void: "Those who chase shadows... become shadows themselves."

Her every move seemed to carry a unique charm, captivating everyone around her, making them yearn to explore the world within her heart.

"Very good! That's enough, Robert, what do you think?" Gregory Harris decisively called cut. Rachel's performance was commendable, better than he had anticipated. That was enough. The aim now was to preserve the impression of this excellent shot. Overdoing it could lead to flaws, possibly giving Philip an opportunity to exploit.

"Yes, thank you for your performance, Miss Cyrus, you may leave now," Robert Marshall said to Rachel with a smile, then suddenly added, "We will inform your agent once we have a decision."

That's it?!

The most anxious person in the room was Philip, worried that Rachel hadn't made a strong enough impression. He smiled at her in a somewhat ingratiating manner: "Miss Cyrus, your performance was refreshing, and you fit the lead role perfectly."

This playboy, driven by lust, was being too obvious! Robert Marshall rolled his eyes in disdain at Philip's blatant flattery. It was all too clear that he was eager to impress Rachel Cyrus. But that was fine with Robert; when he expressed his preference for Rachel Cyrus, Philip would likely not object.

The director clearly misunderstood Philip's eagerness. If Philip knew, he would probably beat his chest in frustration and cry out in injustice. At this point, he could at best be considered a quirky bug, nowhere near a lust-driven one.