The Greatest Showman #1269 - Everyone is in Demand

A thin layer of cold sweat clung to Helena's back. Lang's eyes sharpened suddenly, and his aggressive, powerful aura seemed to burst forth, filling the room. Helena instinctively looked away, pretending to focus on her notebook as she searched for the latest information.

Why the sudden tension?

Was it because Renly had suddenly become unreachable? Hollywood's major studios were already in motion, scrambling to join the project, while Renly had handed it over to an unknown rookie director. This clear stance was a direct challenge to their authority.

Or was it because, beyond Fox Searchlight, several other renowned independent film companies had entered the fray? The absence of Focus Pictures had become glaring, and the tension was now fully exposed. While Universal Pictures may not be concerned, they were still being caught in the crossfire.

Or perhaps...

"Bob or Harvey?" Lang finally spoke, his voice calm but carrying weight.

The Weinstein brothers, Bob and Harvey, were infamous for their personal conflicts. Harvey, in particular, had publicly condemned Renly during the awards season. He had done everything in his power to dismantle Renly's career, even making pointed remarks at private parties, hoping to witness Renly's demise.

Yet, Renly had continued to defy him, securing his third consecutive Oscar nomination for Detachment. This had enraged Harvey even further, leading to a series of drastic actions, all of which reached their climax on Oscar night. Their enmity was a dead-end.

If Weinstein Pictures were truly interested, it would be an unexpected turn of events.

"Bob?" Helena's voice was quick to answer, almost in a whisper, but with clarity.

Lang's sharp gaze softened immediately, his tense aura fading away. He relaxed, as if a weight had lifted. "Bob didn't make any public statements, but in private, at gatherings, he acknowledged Renly's vision for film selection. He believes in it, thinks this project is a surefire business investment."

Lang nodded, a brief acknowledgment of the situation.

While Bob and Harvey were brothers, they were distinctly different in their approaches. Although Harvey wielded more power in decision-making, Bob's input was still significant. This indicated that Weinstein Pictures was paying attention—but whether this attention was supportive or a negative disruption remained to be seen.

Lang was surprised by the overwhelming interest in the Boom Drummer project. After all, it was an independent art film, not a commercial blockbuster. There was no need for the major studios to get involved, especially when Renly's market appeal was still somewhat unproven.

In Lang's mind, Edge of Tomorrow had demonstrated Renly's potential, but it was still a far cry from solidifying him as a box office guarantee. Hollywood's true stars were those who had proven their worth time and again through multiple successful films—Tom Cruise, Will Smith, and Johnny Depp. The major studios only truly backed their stars when they had a track record to justify it.

"Wait and see," Lang concluded, still steadfast in his approach. "Hasn't Paramount and Disney made their moves yet?"

He scanned the room, catching the eyes of his colleagues. It was evident that Renly's influence was slowly infiltrating Hollywood. His film choices were starting to matter—his taste and box office appeal were becoming undeniable. The studios couldn't ignore him, and it was only a matter of time before they had to act.

Lang didn't give anyone a chance to speak. "This is the situation now. No need to keep discussing. Hollywood is filled with actors and projects. We don't revolve around just one. Let's take our time, observe, and make the right decision. Case closed."

With a single, conclusive statement, the commotion in the conference room died down.

Hector and Helena exchanged a glance. Both understood: Universal was likely to be left behind in this race.

Sure, their approach was safe—no risk involved. But it was also devoid of excitement. In a fast-paced, ever-evolving industry like Hollywood, such caution made them seem stagnant and irrelevant.

Lang smoothly changed the subject. "How's the director search for Fast & Furious 7 going?"

When it came to the Fast & Furious series, Lang had always prioritized the actors—particularly Vin Diesel. As a result, Justin Lin's time with the franchise had come to an end, and now Universal needed a new director to take the reins.

After the success of the fifth film, Universal's plans for the next installments had been overhauled, forcing them to start fresh. It wasn't hard to see why people said Universal was the worst at handling sequels. They seemed to trip up at every turn.

Hector, rejuvenated by the change in topic, started to respond to Lang's question.

Recently, Hollywood had been buzzing with excitement, and the Boom Drummer project had only intensified that fervor. The focus was on the early stages of production, with major studios vying for a piece of the action. From production to distribution, everyone had their eyes on the project, and Renly's rising influence was undeniable.

After Warner Bros., Fox Searchlight, and Sony Pictures, Paramount jumped into the mix, with CEO Brad Grey personally meeting with Creative Artists Agency. He was a formidable character in Hollywood, having turned Paramount around with his sharp business acumen and successful strategies.

Brad's most notorious move was firing Tom Cruise. Even though Mission: Impossible had been a lucrative franchise, Brad realized Cruise was earning far too much in comparison to the studio's returns. So, he cut ties with Cruise and made it clear that Paramount would no longer finance the series unless Tom adjusted his terms. Eventually, Tom came back, but his earnings were slashed.

Now, with Boom Drummer, Brad was showing a similarly bold, long-term vision. The risk was high, but so was the potential reward. His decision to collaborate with the innovative artist agency sent ripples throughout the industry, shaking things up.

Four out of Hollywood's six major studios were now involved in the project—a stunning turn of events for an independent art film. The industry buzz was palpable, and expectations for Boom Drummer were rising with each passing day.

For Damien Chazelle, these past three weeks had felt like a dream. From struggling in obscurity to suddenly becoming the most sought-after director in Hollywood, the change had been dizzying. The sharp shift in his fortunes felt surreal, like a roller coaster ride from rock bottom to the peak.

"Have you really met with the CEOs of Paramount and Warner Bros.? Sat down for dinner with them?" Justin Hurwitz asked, a playful grin on his face, still incredulous. Despite believing his friend's story, it felt too incredible to be true.

Damien, with an innocent shrug, smiled. "Man, I can hardly believe it myself, but it's true. The crazy part is..." Before he could finish, his phone rang. Glancing at the caller ID, he frowned. It was an unknown number. He exchanged a confused look with Justin before picking up the call.

"Good afternoon, this is Damien Chazelle."

"Good afternoon, this is Robert Iger."