Chapter 1373: Where to Go

"Let's take a look at Damien Chazelle's resume. He's a new director, with his second feature film already in the works. To prepare for it, he spent nearly three years developing ideas, even turning them into a short film in an attempt to attract investment at the Sundance Film Festival—but failed. It wasn't until Renly Hall stepped in and offered his help that the feature film finally came to life.

In other words, the characteristics of this project were crystal clear: this was an independent art film, small budget, limited scope, and centered around a music genre—one that had minimal market potential in today's industry.

This is Renly's second film involving music, following 'Drunk Town Ballad.'

All of this paints a picture: Renly's career seems to have entered a repetitive pattern. His roles seem to be following the same beaten path, similar to the characters of Nicole and Malone, where limitations are imposed by their familiarity. There's a sense of predictability, and the performances have begun to feel stifled. The challenge to break free from the mold feels increasingly difficult, and this repetition might offer little for audiences looking for novelty.

Additionally, Renly's roles have started aligning with films suited for festivals and awards seasons—yet still one step away from the grand EGOT slam. This creates the perception of 'utilitarian' choices, where the effort seems directed toward a grand career prize rather than exploring new creative avenues. Critics argue that Renly's choices might be coming off as rushed or too eager for success.

Emily's article delves into these concerns. Yet, her stance is not one of harsh criticism but rather genuine advice. She opens with:

"Is Renly walking down a dead-end path?"

In her closing remarks, Emily clarifies her approach:

"As an audience member, I eagerly welcome Renly's choice of an independent work. In fact, 'Drunk Town Ballad' remains my top pick from 2013, and watching Renly on screen is always a pleasure. I'm confident that he can surprise us once again with 'The Popping Drummer.' But as a movie fan, I can't help but worry. Renly is still so young, yet he's already at the peak. If his career starts to stall, recovering from it will be a long, arduous process. That's a loss for everyone."

The success of 'Fast & Furious 5' and 'Edge of Tomorrow' showcased Renly's commercial film potential, and his ability to master box-office hits. With more diverse roles, it's foreseeable that he could become Hollywood's next Tom Hanks. Hanks' combination of awards and box-office appeal is a rare feat, with iconic films like Forrest Gump, Apollo 13, Sleepless in Seattle, and others solidifying him as one of the most influential actors in Hollywood's modern history.

Emily's hopes are high for Renly, expressing that she'd watch him in any project, even a minimalist drama like Before Sunrise or Manhattan. She continues,

"I hope Renly can continue his artistic career for many years. It's rare to find an actor with such charisma."

Her article emphasizes Renly's immense talent but also reflects on the underlying fear of rapid rise followed by a fall. Will Renly be another Marlon Brando, a once-in-a-lifetime talent whose brilliance fades too quickly?

Emily's blog post, initially a personal reflection, caught the attention of The New Yorker, and soon it was republished, fueling speculation about Renly's career path. The industry's questions ranged from concerns about the direction of his career to fears of him falling into a trap of typecasting or losing touch with his creativity.

What caused this backlash? Some questioned Renly's decision to work with Damien Chazelle, a relatively unknown director, for an independent film project. The stakes were high—would Renly's involvement derail his career? Was he blinded by ambition or arrogance?

After his string of successful films, the media were concerned Renly might be heading down a dangerous path. They speculated that The Popping Drummer might be the turning point that unravels his career, drawing parallels to Heath Ledger's tragic downfall. But such extreme comments weren't new; after every major Renly project, similar doubts were raised.

However, this time, the stakes were different. With recognition from the Olivier Awards, the Cannes Film Festival, and the upcoming Tony Awards, Renly's career had reached a pinnacle few could match. It seemed everyone—critics and fans alike—was grappling with a major question: What comes next after reaching the absolute peak?

Emily's concerns reflect broader industry anxieties. How does one move forward after achieving everything? In many ways, this mirrors the experience of high school quarterbacks who peak too early, only to struggle afterward. The pressure on Renly is palpable, and there's no way to predict where he will go from here.

Still, there's an important detail everyone overlooks: Renly himself. While others speculated, Renly chose a different path. In the months following his Oscar win, Renly took time off, purposefully slowing down. He returned to the theater, seeking new challenges in his craft. He wasn't giving up; he was recalibrating his journey. Whether he continued to win awards or not, Renly was focused on maintaining his passion for acting—pushing beyond the pressure of success and continuing to evolve as an artist.

For now, Renly has no plans to retire. He's determined to find a path that allows him to sustain his artistic drive, and at the very least, he's continuing to pursue work that excites him—no matter where it leads.

In the end, the question remains: What does Renly really want?

The answer, it seems, is simple: He wants to act, on his terms, for as long as possible, fueled by passion—not pressure.