David Redington’s expression was indifferent with a hint of seriousness. It was clear that he was focused on the matter, not the person, presenting a business-like demeanor.

"According to yesterday’s filming plot, Grace Smith has already become Alan Moore’s lover. Even if it’s a secret affair, with Alan Moore’s personality, he wouldn’t possibly still act as originally set in the script, where he kisses Daisy Smith just because of a close encounter in the elevator.

Don’t forget, in the script, Alan Moore develops an interest in Daisy Smith because, after many years without intimate interactions with women, he experiences a sudden attraction in the elevator. He finds the scent of Daisy Smith’s hair refreshing, and after she voluntarily hugs him, he responds. This marks the beginning of her attraction to him.

But in the new storyline, Alan Moore was just satisfied by Grace Smith last night. For a man like him who doesn’t indulge indiscriminately, Grace Smith is now his woman, and her scent is the one he acknowledges. Therefore, he simply won’t be interested in someone like Daisy Smith, akin to plain porridge and side dishes."

With a thorough analysis, the change in the plot and Alan Moore’s character psychology was fully dissected.

Though David Redington had agreed with Leslie Howard to make a ’fair exchange.’

But in reality, as a movie star level actor and also the producer, he was equally serious about his work.

The reason for agreeing with Leslie Howard, beyond making her happy, was because it already aligned with the plot changes.

Alan Moore, who accepted Grace Smith’s ’seduction’ in the office yesterday, was no longer the Alan Moore originally set in the script.

Since his relationship with Grace Smith has changed, so too should his relationship with Daisy Smith.

"Yes, exactly, that’s it..." Director Henson was the first to react, and after hearing David’s words, couldn’t help but applaud.

"David, thankfully you thought of this. If we continued filming according to the original plot, Alan Moore would undoubtedly become a scumbag on screen!"

Alan Moore is a deep and cold male protagonist, not a male antagonist, he can’t be doing two-timing acts.

Director Henson kept nodding, seemingly in strong agreement with David’s handling.

Yet nearby, Winona Wallace grew anxious.

If this is how it’s filmed, what about her scenes?

Even though she’s the first female lead, why should her scenes be suppressed to give Leslie Howard more scenes?

Winona Wallace furrowed her brows involuntarily, "No, I can’t accept this change. Director... what about Daisy Smith after this change? Clearly, in this show, Daisy Smith is supposed to be with Alan Moore, but now she’s hated and pushed away by him. How can we continue filming like this!?"

More importantly, continuing down this path, Daisy Smith’s presence will surely be overshadowed by Grace Smith.

Clearly, she should have the absolute lead role, why should Leslie Howard surpass her?

Winona Wallace had already forgotten David Redington’s earlier warning, and also forgotten when she initially signed the contract, the agreement stated it was a double female lead production.

When she first discovered the other female lead was Leslie Howard, her first response was to find a way to overshadow Leslie Howard.

But now that things were contrary to her arrangements, she instead began to complain about unfairness.

Director Henson: "How to film next will naturally be arranged by the screenwriter, myself, and the producer. Winona Wallace, there’s no need to be so anxious, this film was always meant to be a double female lead, we will balance your scenes with Leslie Howard’s, and the plot will be smoothed out without logical flaws."

Director Henson advised kindly.

He understood why Winona Wallace was so anxious, with dual female leads, if one is strong, the other is weak. Winona Wallace was likely afraid of being overshadowed by Leslie Howard.

However, Director Henson’s kindness was reciprocated with disdain.

Not having received the outcome she wanted, Winona Wallace bit her lip and glared at him, realizing there was no room for negotiation, she struggled to control herself as she said to Director Henson and David, "Then I’m going to rest, I’m tired, I won’t be filming today."

Finishing her words, not waiting for anyone to persuade her, she lowered her head and, enduring the pain in her ankle, quickly walked out of the film set.

[Beyond 1200 words: next Chapter around 19:30]