He said, "I started with a wrong scene, actually, a comedy scene. Ricky finds Jane in the midst of an argument with Angela and convinces her to flee with him to New York City, before admonishing Angela as being boring and ordinary. She asks him to tell her she is beautiful; he does, and the pair kiss. He masturbates in the confines of his shower;  the shower stall evokes a jail cell and the shot is the first of many where Lester is confined behind bars or within frames,   such as when he is reflected behind columns of numbers on a computer monitor, "confined [and] nearly crossed out". Beth Swofford of the Creative Artists Agency arranged meetings for Mendes with studio figures in Los Angeles to see if film direction was a possibility.
The most obvious use of pop music "accompanies and gives context to" Lester's attempts to recapture his youth; reminiscent of how the counterculture of the s combated American repression through music and drugs, Lester begins to smoke cannabis and listen to rock music. He channeled his anger and frustration at having to accede to network demands on that show—and during his tenures on Grace Under Fire and Cybill—into writing American Beauty. All the main characters appeared in this version, but Carolyn did not feature strongly; Jim and Jim instead had much larger roles. He wanted to keep the tension in the scene, so he only cut away when Jane left the table. Suddenly confronted with a child, he begins to treat her as a daughter; in doing so, Lester sees himself, Angela, and his family "for the poor and fragile but wondrous creatures they are". Mendes said that Ricky's staring into Lester's dead eyes is "the culmination of the theme" of the film: Ball felt that Mendes liked to look under the story's surface, a talent he felt would be a good fit with the themes of American Beauty. Ball was not keen on the more well-known directors because he believed their involvement would increase the budget and lead DreamWorks to become "nervous about the content". As Birch was 16 at the time she made the film, and thus classified as a minor in the United States, her parents had to approve her brief topless scene in the movie. Mendes is indecisive, saying the script seemed to be about something different each time he read it: He starts having sexual fantasies about Angela, in which red rose petals are a recurring motif. She asks him to tell her she is beautiful; he does, and the pair kiss. Child labor representatives were on the set for the shooting of the scene. It is more tempting to summarize it as 'a portrait of the beauty underlying American miseries and misdeeds', but that plays down the scenes of cruelty and horror, and Ball's disgust with our mores. This nondiegetic score is important to creating the narrative stasis in the sequence;  it conveys a moment for Lester that is stretched to an indeterminate length. Mendes called it "the most satisfying end to [Lester's] journey there could possibly have been". Lester becomes infatuated with Jane's vain cheerleader friend, Angela Hayes, after seeing her perform a half-time dance routine at a high school basketball game. Lester's closing narration describes meaningful experiences during his life; he says that, despite his death, he is happy because there is so much beauty in the world. Fitts reacts with disgust to meeting Jim and Jim; he asks, "How come these faggots always have to rub it in your face? After watching Ricky and Lester through Lester's garage window, Frank mistakenly concludes they are sexually involved. Although the film portrays the way Lester returns to that role positively, he does not become "the hypermasculine figure implicitly celebrated in films like Fight Club". Child labor representatives were on the set for the shooting of the scene. At first appropriate, its tone clashes as the seduction stops. There is also the question of how Lester has died—or will die. Although the film portrays the way Lester returns to that role positively, he does not become "the hypermasculine figure implicitly celebrated in films like Fight Club".
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