The Greatest Showman #680 - Director Candidate

"By the way, do you have any thoughts on the director?" Jeff casually asked.

Though it seemed like a simple question, to Renly, it exploded in his ear like a spring thunderstorm. No conversation had startled him more than this. Why was the head of the production department asking him for input on the director? He wasn't Tom Cruise or Brad Pitt, after all.

Seeing the surprise on Renly's face, Jeff couldn't help but chuckle. "Ha, now I truly believe you're only twenty-one," he joked, bringing Renly back to reality. The corners of Renly's mouth twitched upward into a smile. "I'm just asking for your opinion—just like we discussed the script earlier."

In Hollywood, when pushing a film project forward, it typically follows one of two approaches: either the protagonist or the director takes center stage. Hollywood operates largely as a producer-centered industry, where they control the fates of the entire crew. But when it comes to shaping the film's style, especially in commercial movies, the first step for a producer is often to choose either the lead actor or the director. From there, everything else falls into place.

Can the initial version of the script be used, or does it need revisions? How extensive are those revisions? Should a major actor be brought in to tweak the roles?

When it comes to casting, how will the chemistry between the lead actors be? Do their images align with the director's vision for the film? Or conversely, does the director need to adapt to the image of a big-name actor? How should the supporting cast be selected? Will veteran actors be required, or should new talent be introduced?

Photographers, lighting technicians, art directors—each choice depends on the director's style. Tim Burton and Christopher Nolan, for example, will have drastically different requirements, and the same goes for established directors versus newcomers. Famous directors often have their own trusted teams, whereas newer directors might not have developed a signature style yet.

Budget is another crucial factor. Is $100 million too much, or too little? Should the budget be adjusted depending on the star power or the director's name? And how will the rest of the crew be affected by these changes?

The development of Edge of Tomorrow has been slower than expected. The main holdup is Jeff's desire to cast big names like Brad Pitt or Tom Cruise in the lead roles, and both actors usually come with directors they are familiar with. For instance, Tom Cruise's director must approve every aspect of the work, and Brad Pitt often has input on the shortlist of directors.

So far, the film has yet to confirm its director. Naturally, while casting the male lead, they've also been searching for a director who is willing to take on the project. The unexpected confirmation of Renly as the lead is both surprising and unsurprising.

To be clear, Renly's casting suggests that the film's entire cast will likely be younger. Plus, Renly isn't a top-tier actor yet—he's still an emerging star, which means the director's role in shaping the film will be more significant than it might otherwise have been.

But Jeff isn't just any producer. After working with Christopher Nolan on Memento, Jeff signed five films with him, including the Batman prequel trilogy. He recognized something special in Renly and believed his input could bring surprising insights.

"Are you thinking of Christopher Nolan?" Jeff teased, bringing Renly back to the conversation.

Renly chuckled. "To be honest, I hadn't considered it," he admitted. As an actor, he focuses purely on the character's perspective, and maybe a bit on the audience's point of view. He doesn't think of himself as a writer or a producer.

Reflecting on his past life's trajectory, Renly realized that Doug Liman had ultimately directed Edge of Tomorrow in his previous timeline. While Doug did a commendable job, his style is more suited to action sequences, with sharp pacing and precise shot composition—traits that suit commercial filmmaking but don't necessarily support deep character development or storytelling.

That raised an interesting question: Could someone else have helmed Edge of Tomorrow just as well, or even better? Doug was a competent director, but Renly was open to exploring other possibilities.

"First... Paul Greengrass," Renly said after a moment's thought. Greengrass, known for directing the second and third Bourne films, was famous for his use of handheld camera work that created a pseudo-documentary feel. This style helped propel the Bourne series to success.

Jeff raised an eyebrow. "Handheld cameras?"

"No, not just that," Renly clarified with a smile. "I admire his storytelling style—it's steady yet sharp, and he brings a unique rhythm to his films. And his editing is superb."

Greengrass had also directed films like Flight 93, Captain Phillips, and Bloody Sunday, all of which showcased his narrative prowess, rhythm, and the depth of his work beyond typical commercial films.

Next, Renly suggested Edgar Wright, director of Shaun of the Dead, Hot Fuzz, and Scott Pilgrim vs. The World. Known for his dark humor and childlike playfulness, Wright's quirky style could bring a different flavor to Edge of Tomorrow—one filled with humor, energy, and creativity.

Jeff laughed at Renly's enthusiasm. "I didn't know you liked comedy so much."

Renly shrugged. "Edge of Tomorrow isn't a comedy, so I'm not too worried about that. Actually, I've thought about what it would be like if I were cast in Scott Pilgrim—imagine that!"

The thought of Renly playing a nerdy character like in Scott Pilgrim was amusing, but Renly was more excited about how different directors would bring their own style to the same script. The film could evolve in countless ways, from the tone and pace to the performances, offering a fresh perspective each time.

Renly mentioned a few more directors: Matthew Vaughn, who helmed Kick-Ass and X-Men: First Class, and Francis Lawrence, known for I Am Legend and The Hunger Games. Both had distinctive styles—Vaughn's fast-paced editing and colorful visuals contrasted with Lawrence's mastery of lighting and shadow. Each brought something unique to the table.

Shooting a commercial is easy, Renly mused, but making a great one is a whole different challenge. While he couldn't guarantee any director would do better than Doug Liman, the possibilities were exciting to think about.

Eventually, Renly did bring up Doug's name again, which seemed to surprise Jeff—Brad Pitt had also recommended Doug, likely because of their previous collaborations. If Doug was on board, it could raise Brad's interest in Edge of Tomorrow.

Jeff didn't comment on this, but instead, he smiled. "Even though you haven't thought much about the director, it's clear you understand the script and characters deeply."

Standing up, Jeff gestured toward the party. "Let's head back. We've been here long enough, and the party's about to end. There are plenty of old friends downstairs I'd like to introduce you to."

Back in the party, the atmosphere was still buzzing with excitement. No one seemed to notice that Renly and Jeff had stepped away. Jeff, playing the role of introducer, led Renly into the heart of Hollywood's top social circle—a world of old acquaintances, new faces, and future possibilities.

Renly's next project, Edge of Tomorrow, had been confirmed, marking a pivotal moment in his career. But the real question remained: How would this version of the film differ from the one in his past life? And would the ending still be the same?