The Greatest Showman #679 – Commercial Starring

"When Cage transitioned from a manipulator to a participant, he slowly realized that his words were nothing but hypocritical lies. Or perhaps, they were merely the delicate masks that the elites wore in front of the public."

Jeff's eyes brightened at Renly's words, which directly contradicted the core message of Saving Private Ryan, exposing the hypocrisy and lies behind the government's rationale for war. Of course, Saving Private Ryan is set during World War II, while Edge of Tomorrow references the Iraq War—at least, according to the current script. Despite the differing historical contexts, the essence of the two conflicts shares common ground.

"For war, there are two key principles. First, teamwork. Second, peace."

Renly continued, but then paused, leaving the statement hanging in the air. Jeff couldn't help but ask, "What else?"

"That's all."

"That's it?"

Renly chuckled and nodded lightly, confirming, "Yes." He added with a smirk, "We're shooting a commercial film, not an art film. Otherwise, we'd be having a completely different discussion."

Could Edge of Tomorrow become a classic sci-fi film? It has that potential. The script explores the relationship between time and life, and through the repeated cycles of reincarnation, the tempering of life is unimaginable. In Buddhist teachings, reincarnation is both suffering and destiny. This philosophical angle could be explored more deeply than Interstellar.

Could Edge of Tomorrow also be a great art film? That's worth trying. With William Cage's unique role, the film could highlight the indifference and corruption of the government's high ranks, blind to the human cost of war, all for the sake of profit. The film could subtly criticize the lies of the White House regarding the Middle East.

But Renly didn't believe it was necessary to go that far.

Edge of Tomorrow is an excellent commercial film. Could it reach the heights of Inception? Maybe, maybe not. The point is, at the very least, it can build on the foundation laid in the previous life, focusing on Cage's character, and allowing for growth in both the character and the story. There's no need for any unnecessary depth. It's enough to leave room for the characters to evolve and for the story to provoke thought without overwhelming the audience. The film can remain balanced, compelling, and commercially successful.

Renly's perspective was simple: the emphasis should be on Cage. As Cage relives time, he grows, transforms, and awakens. This evolution shouldn't overshadow the overall narrative or disrupt the film's pacing, but it must provide more than a superficial treatment. The story should leave an emotional aftertaste while allowing for a more dynamic and layered experience.

In the original version, the rhythm of Edge of Tomorrow was too tight. The film didn't leave room for character development; it focused entirely on Cage. Additionally, Tom Cruise's production team stuck to the formulaic routine of creating a hero figure who saves the world with ease, which lacked fresh ideas.

In Renly's view, this approach limited the film's potential.

The script should allow space for other characters, not just the heroine, to develop. There needs to be more interaction between Cage and his teammates—not only focusing on the love interest, but also on the camaraderie between the hero and his comrades. This approach will emphasize the impact of each teammate's death on Cage and highlight his transformation: choosing teamwork over individualism in the final battle. One person cannot turn the tide of war, nor can a single person win it alone. This shift marks Cage's transformation from a war beneficiary to an opponent of the war.

These ideas don't require extensive plot changes. Often, it's just a matter of adding a few shots or details, enough to provide depth to the character dynamics without disrupting the film's rhythm. Cage's scenes might need to be trimmed for balance, but that's a small price for a more rounded narrative.

Tom Cruise would likely disagree with this approach. Even if he nodded in agreement, his entire team would likely resist.

However, if these ideas are executed well, the final version of Edge of Tomorrow could be something worth looking forward to.

Jeff, being astute, understood the depth of Renly's words and saw the potential in his vision. He was now more curious about Edge of Tomorrow. Renly's take on Nintendo games? Jeff was intrigued.

The Edge of Tomorrow script was a project that most Hollywood studios avoided. Otherwise, Derek—a relatively unknown writer—wouldn't have been the one to adapt it.

First, the film needs to build a grand world, and not only does the screenwriter need to be well-versed in science fiction, but the script itself requires meticulous attention. The shooting process demands significant manpower and resources, and the visual effects are bound to be expensive.

Second, the original book is from Japan, and the English translation didn't sell well in the U.S. The mass appeal was weak, even more so than Transformers or comics.

If the film flops, it's a small matter; the real concern is if it fails to make an impact after a huge investment. That's the most dangerous outcome. This is why the Edge of Tomorrow script has been blacklisted—few companies are willing to back it.

Naturally, Jeff considered A-list actors for the lead role to minimize the financial risk.

Brad Pitt, Tom Cruise, Johnny Depp, Robert Downey Jr., and even Harrison Ford (at 69) were all in consideration. But with so many big names involved, the project had moved slowly.

Now, things were shifting. While a big-name actor might reduce the risk, it would also shift the focus toward the hero, potentially sacrificing the quality of the final product. Choosing a newcomer, however, would allow for a stronger, more original character and an exceptional finished product—perhaps even a stunning one.

That newcomer, Renly Hall, stood before Jeff. Was he the right bet?

Jeff nodded, admiration in his eyes. Recalling the brief interaction between Renly and Brad, Jeff couldn't help but smile. "Do you realize what your suggestion could lead to?" he asked. "By diluting the male lead's focus, you're giving other characters more room to grow, which will inevitably disperse the attention."

Renly smiled slightly and replied, "You know, a one-man show doesn't necessarily make for a good film. And the lead actor's presence isn't measured by screen time or weight. True charm and skill transcend that."

Renly's words carried a quiet yet undeniable confidence, a subtle aura of pride, and the quiet arrogance that marked him as an actor of substance. Jeff recalled Renly's performances in Buried Alive, Crazy in Love, and even his brief, but standout, role in Fast and Furious 5.

In that moment, Jeff realized the comparison was no longer between Renly and the usual A-listers. Figures like Brad Pitt, Tom Cruise, Tom Hardy, and others faded from his mind, leaving only Renly Hall as the answer.

There was still time to make the right choice. No need to rush.

But, as Jeff reflected, he didn't need time. Renly had already made the case.

"I'll wait and see," Jeff said with a firm decision, extending his hand. "I'm looking forward to seeing the Renly Hall version of William Cage."

The handshake carried a deeper meaning in the world of film. It wasn't just a formality—it marked a cooperation agreement.

Renly took Jeff's hand, offering a polite but confident grip. "The burden of a commercial blockbuster isn't easy to carry, and I'm already feeling the pressure. My breath is a little tight—Is that normal?" he joked, maintaining his composure.

Jeff chuckled. "What I'm really looking forward to is you starting a conversation with the screenwriter. By the way, have you met Derek?"

"Only by phone," Renly responded.

Jeff nodded. "You can share the ideas we discussed today and see what we can do to make this film the next Inception."

"I'm an actor, not a screenwriter," Renly replied, not in humility but simply stating the truth. Writing a screenplay is no simple task.

Jeff shrugged. "What we need is not your script, but your ideas. That's the real treasure." Jeff had always believed in his own vision and was determined to see it through. "By the way, do you have any thoughts on the director?"