The Greatest Showman - Chapter #1190 (Extras)

1,152 extras

The car crawled through Manhattan's streets, the winter chill noticeably thinning out the usual crowds. Yet, the city's notorious traffic congestion hadn't improved. As they moved along, the neon lights blinked on one after another, signaling the city's shift from daytime hustle to its nighttime energy.

Annie, lying next to the window, couldn't take her eyes off the vibrant, noisy streets. Due to her illness, her daily routine was tightly regulated by her doctor's orders. Additionally, with both parents often working late, it was rare for Annie to get out at night. "One Man's Concert" and the Grammy Awards were special occasions—aside from those, her outings were few and far between.

But tonight, Annie just watched quietly, not making a sound. Even if curiosity bubbled inside her, she didn't speak up. Even if questions lingered, she kept them to herself.

Paul, noticing Annie's quiet observance, lightly tapped the back of the driver's seat. He whispered, "Slow down, no need to rush."

Though his words were soft, Annie still heard him. She turned to Paul, her eyes sparkling with excitement, a wide smile tugging at the corners of her mouth. It seemed like she wanted to say something, but then she hesitated, shyly turning her head back to the window without saying a word.

As the car moved at a slower pace, they finally reached their destination.

Paul was the first to exit, opening Annie's door and standing protectively behind her as she stepped out. Once she was safely out of the car, he closed the door and stood with her, waiting for the traffic light at the intersection. A gentle warmth spread from his right hand, and when he looked down, he saw that Annie had carefully taken hold of it.

A small, tender gesture made the corners of Paul's mouth lift in a smile.

"Is that Pioneer Village?" Annie's voice was filled with joy and curiosity, her eyes wide as she bounced lightly on her toes. "Wow, the line stretches all the way to the other side of the street! It's huge!"

Paul, noticing the unexpectedly long queue at the entrance of the bar, paused for a moment before responding with a chuckle, "They're here for the show tonight, just like you."

Annie's eyes grew more inquisitive. "But... isn't this a filming? You know, they're not supposed to allow any interruptions. Isn't the set supposed to be kept quiet? Shouldn't we let Renly focus on his work?"

Her voice, once filled with curiosity, now carried a certain determination, as if she needed to understand every detail.

Paul bent down to explain, his tone earnest, "During filming, we need extras to help create the atmosphere of ordinary people. It's part of what makes the scene feel real."

Annie's face lit up with understanding. "Ah, I get it now! It's like in Kung Fu Panda, when the townspeople watched the fight... they were part of the story, too. That's funny!"

Paul laughed with her, "Exactly. Tonight, we're extras, too. We just need to be quiet, enjoy the show like everyone else, and give Renly our applause."

Tonight marked the official start of Drunken Country Ballads.

After much discussion, the Coen brothers had decided to shoot the movie in chronological order. They felt it would be easier to maintain continuity and give the actors a clearer understanding of their characters' evolution, particularly for Le Verne's role. Shooting in sequence would allow for more subtle changes to emerge naturally.

The first scene to be filmed was Le Verne's performance at the Kerosene Lamp Bar, and it would echo the final scene of the film, starting and ending with a performance.

Originally, the plan was for Le Verne to perform two songs: "Hang-Me, Oh, Hang-Me" and "Wave Goodbye." However, after deep discussions with Renly, the Coens decided to drop "Wave Goodbye" from the opening sequence.

As Renly explained, "Wave Goodbye is a deeply emotional song—it's a duet Le Verne performs with his partner, and it's rich with meaning. Using it at the beginning would distract from the opening's subtle portrayal of Le Verne's character. We want to save that emotional weight for later, when it contrasts with the ending."

Thus, for the opening, Le Verne would perform just one song. Later, as the camera captured his performance, a recording of Wave Goodbye would serve as background music, adding depth to the character's backstory without taking away from the current scene.

Tonight marked the beginning of Drunken Country Ballads's first shoot at Pioneer Village.

Unlike other productions, the Coen brothers chose to film at night to capture the authentic vibe of that era. They invited a select group of local folk music fans to participate as extras, helping to set the tone for the scene, which depicted a bar performance after a few rounds of drinks.

Annie, a longtime admirer of Renly, was thrilled to attend the event as an extra. She had always wanted to see him perform live, and tonight presented the perfect opportunity. Paul, who had come to New York to visit Renly after filming Gravity, took on the role of chaperone. Although Annie would be an extra, she wouldn't be on camera—she would sit quietly in the corner, enjoying the performance.

The Coens had gone to great lengths to keep details of the shoot under wraps, not wanting to spoil the authenticity of the scene. Invitations were sent out through Pioneer Village, promoting a performance by an indie folk singer with a lineup of three artists: Troy Nelson, Al Cody, and LeVern Davis. In reality, these were all fictional names invented by the Coen brothers for the movie.

New York's nightlife was as diverse as it was unpredictable, and themed parties like this were a common sight. The request was simple: attendees were asked to wear casual or formal clothing from the 1960s.

The Coens weren't concerned about the turnout—if only a handful of people showed up, it would still work for the scene. But the power of Pioneer Village's appeal was underestimated. When Paul and Annie arrived, they were greeted by a line of over a hundred eager fans waiting to enter. Everyone was dressed in period-appropriate 1960s attire, evoking the feel of Greenwich Village half a century ago.

As they approached the entrance, a few people recognized Paul. One of them shouted, "Hey, Paul!"

Paul waved politely, and the crowd buzzed with excitement. "It's really him! Paul, Renly's closest friend! He's here for Renly's show!"