The Greatest Showman #1334 - Simple Filter

Dear Andy,

I've read the email.

The "Noh 6 Team" and "Star Wars Story" projects are fine and can be considered. "Cinderella" is also okay—though, if I choose to star, I would prefer playing the prince. However, I have a stronger inclination toward romantic comedies, and a film like Fake Marriage, starring Sandra Bullock and Ryan Reynolds, serves as a great reference.

Also, no comedy projects? Comedies like The Hangover could be a fun challenge.

By the way, don't forget to ask for a copy of the Boom Drummer script. I need to sign up for drum lessons as well—I'm starting from scratch.

Best,

Renly

Without hesitation, Renly replied quickly—his decision wasn't difficult.

Sin City 2 was a highly stylized film, but its story and characters were a mess. Despite a star-studded cast that included Eva Green, Joseph Gordon-Levitt, Bruce Willis, Jessica Alba, Mickey Rourke, Josh Brolin, and Lady Gaga, the film flopped both critically and at the box office. Renly had no personal affection for the project.

Tomorrow's World was another example of a paper-thin blockbuster. The story was simplistic, the characters lacked depth, and the rhythm was off. Worst of all, it lacked a clear climax, undermining its potential as a sci-fi popcorn movie. In his previous life, George Clooney had starred in this film, but even his charisma couldn't save it.

As for Cinderella, it was an absolute heroine's film, with the male lead essentially being a decorative figure. After all the drama Renly had endured in London, he wasn't eager to play the prince. Though Cate Blanchett had delivered a standout performance as the stepmother in Renly's past life, the timing wasn't right for such a collaboration this time.

After considering the options, Renly narrowed it down to Neng 6 Team and Star Wars Story.

Team No. 6 was a cartoon Renly personally enjoyed, even though its quality wasn't on par with Frozen or Pixar's offerings. Nonetheless, it had heart, a deep emotional core, and well-developed characters. He wouldn't mind voicing a role in this film—it was a fresh challenge in acting and might lead to unexpected rewards.

Star Wars Story was different. Despite the mixed reception of the recent Star Wars reboots, Renly was intrigued by the rumored Rogue One. Stripped of the franchise's nostalgic elements, it focused on a group of people coming together for a shared ideal. The tragic, heroic ending resonated deeply with Renly. Knowing the outcome didn't lessen its emotional impact—it was a compelling narrative.

Renly had always been considered picky when it came to popcorn movies, but that wasn't true. He enjoyed them as a viewer, and as an actor, he welcomed varied roles—otherwise, he wouldn't have appeared in Degree and Passion/Love 5 or Edge of Tomorrow. He had enjoyed Ant-Man, Deadpool, Captain America 2, Avengers, Guardians of the Galaxy, X-Men: Days of Future Past, and Rogue One. The opportunity to join the Star Wars universe was unique, and Renly found the idea appealing.

What he didn't want, however, was to be typecast. He wasn't interested in becoming synonymous with a single character—like Robert Downey Jr. as Iron Man or Chris Evans as Captain America. That kind of branding limited an actor's range and stifled creativity. Renly's interest in Rogue One was piqued because the characters all perished by the end, meaning there would be no strings attached—no sequels, no reinventions. Just one film and done.

The possibility of Disney reviving the characters in prequels was always a potential avenue, but Renly's decision wasn't swayed by that—he was interested in Rogue One for its own merits.

Renly also admired Gareth Edwards, the director of Rogue One. Gareth had made his debut with Monster in 2010, which was a critical success in the independent film world. Edwards' follow-up with Godzilla (2014) had received mixed reviews, but his unique visual style was widely praised. His continued success with Rogue One made it an exciting prospect for Renly.

Ultimately, Team Neng 6 and Rogue One weren't just fallback options—they were projects Renly was genuinely excited about. He was eager to explore new roles, including romantic comedies and spoof films, to challenge himself and expand his range.

Thus, Renly sent the email.

Soon after, Andy responded, his message a flurry of disbelief:

"Are you sure? That's how simple you're making this? Haven't you always been interested in Star Wars? What's going on? This isn't like you! Are you joking? You can't be serious. Don't change your mind because of me, okay? I mean it."

If Andy's email hadn't been so dramatic, littered with exclamation marks, it might have been more convincing. Renly, however, didn't think much of it and forgot to confirm the email. By the time Matthew was organizing Renly's inbox, the dramatic message had already been discarded, unceremoniously thrown into the trash.

On May 15, The Great Gatsby premiered at the 66th Cannes Film Festival as the opening film. Though it wasn't competing for the Palme d'Or, the film stirred up a lot of media buzz, especially on social media. The response was polarized—people either loved it or hated it, reminiscent of Baz Luhrmann's Romeo + Juliet (1997), the last time Luhrmann had collaborated with Leonardo DiCaprio.

Bipolar reactions weren't necessarily a bad sign at Cannes—after all, the film had garnered attention. Over the next few days, Cannes was a whirlwind of discussion, with all eyes focused on the small town. Whether the films in the main competition or other categories, every title became part of the hot conversation.

Critically, Adele's Life was receiving widespread praise, positioning it as the frontrunner for the Palme d'Or. The City and The Past were also drawing attention, especially in the European media.

Meanwhile, Only God Can Forgive didn't meet expectations, and Behind the Candlesticks failed to spark lasting discussion. Even the stars of the festival, Leonardo DiCaprio and Ryan Gosling, while popular, found themselves somewhat overshadowed by the overwhelming competition.

What would Renly's debut at Cannes bring? On May 21st, Drunk Township Folk Ballad would have its global screening at Lumière Hall. The answer was about to unfold.