The Greatest Showman #1182 - Script Reading

When the Coen brothers arrived at Pioneer Village, they could immediately spot the actors gathered around the bar. The scene was lively, with everyone chatting and enjoying themselves. It felt like an ordinary night in a folk bar.

Thanks to the strong appeal of the Coen brothers, the cast of Drunken Country Ballads was quite the spectacle. Aside from the three core stars—Renly Hall, Justin Timberlake, and Carey Mulligan—the supporting cast was also filled with notable names.

John Goodman, known for his role as Hollywood's beloved "golden supporting actor," would play Roland Turner, a wealthy squire who loves jazz but despises ballads. LeVine takes him on a road trip to Chicago.

Garrett Hedlund would portray Johnny, Roland's driver, a tough-guy actor who rose to fame in Weekend at Midnight, followed by roles in Troy, On the Road, and Tron: Legacy.

F. Murray Abraham, an actor whose career spanned decades, would play the owner of a small Chicago record label and bar—LeVine's last hope for a career. Abraham had won an Oscar for Best Actor in 1985 for Amadeus.

There was also Adam Driver, a relative newcomer who had just broken into the industry in 2010-2011. Known for his distinctive appearance and memorable performances, Driver would play a folk singer who collaborates with LeVine on a commercial song.

The Coen brothers had clearly put a great deal of effort into casting each role, choosing actors who would bring something special to the characters.

Now, the entire cast was gathered not only because it was the first time Drunken Country Ballads had officially come together, but also because it was the day for their first script reading. This would give the cast a chance to familiarize themselves with their roles and the project.

With the exception of Renly, the other actors had relatively brief roles. John Goodman had only three days to complete his scenes, while F. Murray Abraham's role required just one day of filming. Even if Abraham skipped today's script reading, it wouldn't have mattered. Still, the Coen brothers' influence was strong enough that everyone showed up to honor the occasion.

Joel Coen stepped forward and scanned the room of actors, rubbing his hands together with excitement. "Ha, it looks like everyone knows each other now. Hey, Renly, you've finally shown up."

John Goodman, who was lounging lazily in his chair, remarked in a dry tone, "Isn't that the most important thing?" His subtle humor, with a cool edge, made it clear that the crew had been waiting for Renly to make his entrance.

Renly could feel the eyes of the room on him, but he simply smiled and responded, "I thought money was the most important thing." His quick-witted joke lightened the mood, transforming the moment into cheerful laughter.

Ethan Coen clapped his hands to regain everyone's attention. "Now that we're all here, it's time to start preparing for filming. I checked the weather forecast for New York and Chicago, and for the next three weeks, there will be snow. That's our shooting window."

Ethan turned his gaze to Renly, offering an apologetic look. "Sorry, but we need you to be out in the elements. It's not a studio job. But we've set an amount you can't back out of."

Laughter erupted at his remark, and Renly calmly responded, "In my last film, I was trapped in a steam sauna for more than ten hours a day, facing scorching heat. I think it's time I experience a work environment that's constantly bitterly cold."

The entire room burst into laughter once again.

The crew officially began reading the script aloud. In a typical production, the main actors and staff would introduce themselves and their roles, and there would be some discussion to ensure everyone was on the same page. But the Coen brothers bypassed these steps. They dove straight into the script reading, showing their decisive and somewhat rough approach to filmmaking. This style reflected the independent, raw energy of their work, like wild plants growing untamed.

In a traditional script reading, actors would have time to familiarize themselves with their roles and adjust their performances. But the Coen brothers skipped this, leading to a chaotic scene—actors sometimes stumbling over their lines, missing cues, or looking in the wrong direction.

Yet, Renly could tell that the Coen brothers were enjoying the chaos. It reminded him of a basic acting class where the unfamiliarity of performing in front of strangers led to awkwardness, but also breakthroughs.

Some actors, like John Goodman and F. Murray Abraham, didn't have many lines, so they stayed mostly passive, but their occasional interruptions brought their unique energy. Meanwhile, Kerry and Adam Driver demonstrated solid, distinct character traits, and their performances hinted at something special. Justin Timberlake's performance felt more like his Saturday Night Live energy—impatient and comedic, while Garrett Hedlund's performance was dull, as he lacked control over his facial expressions.

It's widely known that the Coen brothers don't focus much on coaching actors. Instead, they prefer actors with solid experience and natural chemistry with their roles, allowing them to shine in their own way. This style lets them focus on the technical aspects of filmmaking—camera work, storytelling, and the overall tone of the piece.

From Renly's perspective, the Coen brothers' approach to casting and performance was an interesting contrast to directors like Paul Greengrass, Tony Kaye, and Alfonso Cuarón, who focused more on the actors' performances, trusting them to bring their characters to life.

The Coen brothers seemed to find the right actors who fit their vision—actors who could either blend seamlessly with the story or, if not a perfect match, would be overshadowed by the Coens' style.

Renly mused about whether Oscar Isaac, under the Coen brothers' lens, was seen as outstanding or submerged into the background. It was an intriguing thought, and he couldn't help but compare Drunken Country Ballads to Ex Machina and other works starring Isaac.

"Renly?" A voice broke him out of his thoughts. He looked up to see all the actors focused on him. With an apologetic smile, he acknowledged that he had gotten a bit distracted, but didn't offer a formal apology. His calm demeanor, however, left the group slightly stunned.

Joel Coen, unfazed, repeated his question. "What's the problem? We were just discussing how the music in the film should be rearranged to better fit the story's style. You've heard it before. What do you think now? Or what did you think earlier?"