The Greatest Showman #1009 - Fast Scissors

"Brother Coen?" Renly asked, surprised. They had only met twice—once in Berlin and once at the Oscars—and neither encounter was enough to form even an acquaintance, let alone a friendship.

After giving it some thought, Renly recalled their brief interactions and then asked, "Joel, or Ethan?"

"Is there a difference?" Andy replied. He wasn't very familiar with the Coen brothers, so he wasn't sure why Renly had asked.

When people mention the Weinstein brothers, Harvey is the more prominent one, but with the Coen brothers, they're always viewed as a pair, almost inseparable. "However, it should be Joel," Andy added.

"Oh," Renly sighed, recognizing that Joel was the more impulsive of the two. He chuckled and continued, "Then, I don't know. If it were Ethan, I'd have thought they'd want to negotiate with me about their work. But now that I think about it, that wouldn't make sense. They could just speak to you directly without any need for secrecy."

"My first thought was the same. But he didn't bring it up," Andy confirmed. "I checked, and there's no word from Paramount or Focus. So, it's probably not an invitation for new work. I was just wondering when you became so close with them. Two phone calls, and now this?"

The Coen brothers are giants in the independent film world. Their early work was funded by small indie companies, with 20th Century Fox handling distribution, a relationship that lasted throughout the 1980s. As their name grew, the competition for their distribution rights intensified.

Recently, Paramount and Focus Pictures have split the distribution of the Coen brothers' last four films, establishing a steady working relationship. So when Andy inquired about the latest from them, he first contacted these two companies—but turned up nothing.

Focus Pictures, part of Universal Pictures, had long been associated with the Coens, so it was no surprise they maintained that connection. But why, Andy wondered, would the Coen brothers work with a big studio like Paramount instead of the Weinsteins?

This led Andy to a bit of industry history. In the years following the millennium, the Coens worked twice with the Weinsteins, a partnership that should have been powerful—both the Coens and the Weinsteins were dominant forces in the independent film sector. The Coens' works were funded by small indie companies while the Weinsteins, then working with Disney's Miramax, handled distribution. It seemed like a match made in heaven, but it was anything but.

After just two collaborations, the Coens parted ways with the Weinsteins, mainly due to severe clashes between Harvey and Joel. Harvey, with his strong-willed personality, often butted heads with Joel, which led to frequent disagreements and even rumors of physical altercations.

The reason for their falling out? Harvey's reputation as a "scissor hand"—a producer infamous for meddling with editing. He would often disregard industry norms, which strictly limit a producer's involvement in the editing process, and would tamper with a director's final cut to ensure his films were more commercially viable, often making drastic changes that directors hated.

Though producers aren't supposed to have a say in editing, Harvey's interference was well known. If directors disagreed, he wouldn't hesitate to hire another editor, sometimes even breaking into editing rooms to impose his vision. While this earned him the scorn of many directors, Harvey's influence and powerful PR skills kept him at the top of the industry.

One infamous example was with Guillermo del Toro. In 1997, when del Toro directed Mutant DNA, Harvey completely re-edited the film without del Toro's consent, leading to a disastrous release. This move almost ruined del Toro's career. Despite this, Harvey continued to rise, and del Toro later became a renowned director with films like Pan's Labyrinth.

As for the Coens, their fallout with Harvey was expected. Both Joel and Ethan are independent spirits, and they didn't appreciate Harvey's heavy-handed approach. But they, like many others, were forced to navigate Harvey's influence in an industry where power often trumped creative freedom.

The topic shifted back to the Coen brothers. Since Andy had found no news from Paramount or Focus, the reason for their interest in Renly remained a mystery.

"Maybe they're inviting me to next year's Sundance Film Festival," Renly speculated.

The Coen brothers are loyal supporters of Sundance, and Renly, as one of the most prominent young actors in independent film, could help bring more attention to the festival.

Andy nodded, confirming this guess.

For actors, film festivals are not just a platform for showcasing their work—they also offer networking opportunities and industry recognition. Robert Redford, the festival's founder, has used it to boost his own status in Hollywood. Likewise, members of the jury at major European film festivals gain significant industry respect when invited.

"Of course, it's also possible they just want me at a party," Renly added, which made Andy laugh.

"So, what did you do? Did you give them my contact information?"

"Yes," Andy confirmed, though he had been hesitant at first. "I passed on Roy's contact details instead. Since the Coen brothers seem like strangers, it didn't feel right to give them your personal info. But after the second request, I had no reason to say no."

"I'll check again," Andy said, still leaning toward the Sundance theory. The Coens are always active at the festival. "By the way, the movie's promotion schedule is out. The Almeida Theater is confirmed. I'll be absent for two weeks—who will attend the premiere? Please check with Nathan and send me a guest list."

"Got it," Renly replied, agreeing without hesitation.

With Edge of Tomorrow hitting theaters soon, Renly would have to leave the Almeida Theater for two weeks to promote the film in North America.