The Greatest Showman #1360 - Stay High

"The most memorable scene..."

Renly paused for a moment, then gave an unexpected but insightful answer.

"The scene at 'The Gate of the Trumpet' in front of Bud Grossman."

"It was a fascinating moment," he continued. "In fact, 'The Death of Queen Jane' is a very sad and poignant song, but during the performance, Le Verne intentionally showcased his skills to impress Bud. The singing was a bit overdone—greasy, even—and he overexerted himself, not quite finding the right balance. If you're curious, you could watch that scene again. It's a rare and unique performance experience."

Renly's tone was light and cheerful, a smile subtly playing on his face. "Before shooting that scene, Justin taught me a lot of acting techniques, like using my eyes to convey provocation, teasing, or tension."

Emily, quick to catch on, asked, "So, the inspiration for that scene came from Justin?"

Renly gave a meaningful glance, a playful smile tugging at his lips, which made the audience smile in return.

A new question, a bit awkward yet intriguing, emerged: "Renly, your latest work has received great praise at the Cannes Film Festival. Did you expect this outcome beforehand?"

Renly responded with his trademark ease. "I didn't expect anyone to buy the 'Don Quixote' album, let alone so many," he said, shrugging slightly. The bemused expression on his face was laced with just enough arrogance to make it charming rather than off-putting, which elicited laughter.

A reporter, eager to dive deeper, asked, "You've taken on many diverse roles so far. Is there any particular role or genre you're eager to explore next?"

Renly's eyes lit up at the question. "That's an interesting one." He nodded appreciatively, then turned the question back. "So far, which of my roles have you found most memorable? Which character stands out to you?"

Without hesitation, Mark answered, "Henry Bass. The detached protagonist." He added, "Though personally, I'm more fond of 'Crazy' Jacob. But seeing 'Detached' at the Berlin Film Festival was a whole different experience."

Renly chuckled. "Everyone loves Jacob."

The Oscar buzz and the film's popularity in Europe had certainly contributed to its appeal.

A follow-up question came quickly: "And what about you, Renly? Which character is your personal favorite?"

Renly smiled. "Adam from 'Cancer Me.' It's just the character, not the film."

The unexpected response left the room surprised, but Renly moved on smoothly. "Actually, I've always wanted to challenge myself with comedy—find a different way to act. Or maybe a psychological thriller, like 'The Shining,' where the performance goes beyond the script. That would be a different experience." He leaned forward slightly. "Acting, like life, can fall into repetitive patterns, and if you get too comfortable, you lose that sharp edge. I try to avoid that."

"Is that why you agreed to play in 'Crackling Drummer'?" Emily interjected.

Instantly, all eyes in the room turned to her.

Renly smiled without skipping a beat. "Yes, if there's a chance, I still want to try comedy, but the right project hasn't come up yet. Unfortunately, we'll have to keep waiting."

A reporter asked, "Is it the lack of the right project, or just the right timing?"

Renly raised an eyebrow. "Is there a difference?"

Laughter filled the room, but Mark, undeterred, pressed on. "Earlier, you mentioned that if you don't feel that hunger to perform, you don't rush back to the set. Does that mean 'Crackling Drummer' reignited that urge in you?"

"Absolutely," Renly answered succinctly, then shifted the conversation, "But let's focus on 'Drunken Country Ballads.' Otherwise, Joel and Ethan might have some tough questions for you at the next interview."

As the roundtable continued, Renly became more open, even addressing the "Crackling Drummer" topic with ease.

After the first round of interviews wrapped up, Emily stepped into the corridor. The crowds of reporters were overwhelming, the space so packed that people had to squeeze past each other. It was hard to believe the level of star treatment Renly was receiving.

But this was only the beginning.

Renly's popularity in Europe had been steadily rising since the Berlin Film Festival the previous year. While "Transcendence" had seen limited success in North America, its influence in Europe, along with works like "Les Miserables" at the Almeida Theater, was steadily building his reputation.

After the premiere of Drunken Country Ballads, both film critics and industry professionals praised the work. The senior editor of Film Manual called it their favorite film of the year, praising its portrayal of the era, artistic creation, and the struggles of life.

As the Cannes Film Festival progressed, discussions of Drunken Country Ballads only grew louder. It stood out in a festival known for its intense pace, where films often come and go in the blink of an eye. Yet this film maintained its momentum, surpassing even Adele's Life in attention, quickly becoming a top contender.

Undoubtedly, star power played a role. With Renly and Justin leading the project, Drunken Country Ballads had a clear market advantage over Adele's Life. However, the film's growing acclaim was undeniable, and it was becoming clear that it was one of the festival's standout works.

Cinematographer Bruno Del Bonnell, known for his work on Amélie, captured Renly in a new light, intensifying his allure. For European audiences, the comparison between Drunken Country Ballads and Transcendence sparked fascinating discussions.

As the festival neared its close, expectations for Adele's Life and Drunken Country Ballads reached a fever pitch. The competition was fierce, but these two films stood out as favorites, and as the awards ceremony drew closer, excitement continued to build.