The Greatest Showman #1411 - Tibetan Needles in Cotton

"Maybe one day in the future, I can be Henry Fonda. That's a wish."

"Henry Fonda? Are you sure? I think Marlon Brando or Daniel Day-Lewis would be a better choice."

At Bradley's teasing, Renly raised an eyebrow slightly, a smile lighting his eyes. "I'll choose a positive angle to interpret it."

Bradley couldn't help but laugh, responding with a meaningful tone, "From my perspective, it's positive no matter which way you look at it. I'm always on your side, trust me."

This little exchange was an allusion to a Hollywood real-life anecdote.

Henry Fonda, a legend who spanned both Broadway and Hollywood for more than fifty years, delivered iconic performances in films such as Wild Duel, War and Peace, Once Upon a Time in the West, Twelve Angry Men, Golden Pond, The Grapes of Wrath, and Rage. Fonda, who had five marriages and whose family name became synonymous with acting in Hollywood, holds a curious distinction: the record for the longest gap between his first Oscar nomination and his eventual win.

Fonda's first nomination came in 1940 for The Grapes of Wrath, when he was 35. It took another forty-two years before the Academy honored him with the Best Actor Oscar for Golden Pond in 1981. This long gap, culminating in a victory decades later, resonated with Renly's own experience.

After winning the EGOT, Hollywood, as expected, approached Renly with a mix of caution and skepticism. His youth and rapid success placed him at an uncomfortable height. Reaching such a peak at a young age often leads to rejection or the inability to continue climbing. In many cases, such as with Tom Hanks, Renly's name might only be a theoretical topic in future award seasons, perhaps discussed but rarely nominated, as Hollywood would push him to "calm down."

By invoking Fonda's name, Renly was acknowledging this looming challenge: that awards would likely not come soon. After all, Renly had already claimed the highest honor, and his trajectory had reached its zenith. He didn't need further validation. Yet, with a touch of humor, Bradley brought up Marlon Brando and Daniel Day-Lewis.

Brando and Day-Lewis both represent milestones in the history of film acting. Only nine male actors have won two Oscars for Best Actor, and these two men hold the record for the longest gap between their first and second wins—18 years. The comparison wasn't entirely fitting, but Bradley's analogy was clear: Renly, too, could ascend to the same level of greatness.

Renly's response came in the midst of their laughter.

As they walked away from the bustling Times Square, heading down the street, not sitting but wandering like old friends, Bradley joked, "It's like Manhattan."

This was a nod to Woody Allen's classic film, a love story set against the backdrop of the city.

Renly chuckled. "You should use that line on your dates."

Bradley sighed dramatically. "None of my dates know who Woody Allen is."

Renly smiled. "Not many do. By the way, I met Ronan Farrow not long ago." The mention of Woody Allen sparked a memory.

Bradley nodded, his expression thoughtful. "He's a smart guy. He's off to Oxford next, right?"

Renly's voice held a touch of recognition. "It's clear that another important person will rise in New York soon."

Bradley shifted the conversation back to the topic at hand. "So, are you not expecting much from this year's awards season? 'Drunk Country Ballad' just won the Best Actor trophy at Cannes, which clearly affirms your performance. You won't be ignored come the end of the year, will you?"

Renly smiled but responded calmly, "It's not up to me, is it?" He paused and added, "Honestly, I never expected Drunk Country Ballad to make an impact during the awards season. It's a literary youth film that takes risks. Joel and Ethan never thought it would gain traction in awards discussions."

Bradley pressed further. "What about Gravity?"

Renly smiled softly, the sincerity in his words palpable. "I was told it was going to be the next Avatar, but I don't agree with that. The true standout of the film is Alfonso Cuaron, not me. Honestly, I hope it does well at the box office. It's a film that deserves to be seen on the big screen. The visual effects are unparalleled."

Bradley raised an eyebrow. "Are you advertising for it now?"

Renly laughed. "Well, is Warner Bros. finalized yet?"

"Not yet."

"Then it's not advertising. We can wait."

Their playful exchange continued as Bradley asked a particularly sharp question. "You mean, when you're selecting projects, you don't deliberately choose awards season-friendly works? Is that why you've never worked with the Weinsteins?"

Bradley's question was professional yet provocative, carefully probing one of the industry's most talked-about tensions: the rumored friction between Renly and Harvey Weinstein. Despite not having hard evidence, Bradley knew this would stir discussion. Renly responded with poise and wisdom, never directly addressing the issue but offering a broader perspective.

"Obviously, we haven't worked together, but it's not just because of that reason." Renly gave a vague yet meaningful response, leaving readers and industry insiders to ponder. He then continued, "Awards season isn't my primary focus. I'm still learning and growing. At my age, I don't fit the typical mold for a biographical film."

Bradley smiled knowingly. "So what about Boom Drummer? A lot of people see it as your attempt at an awards season work."

Renly's tone shifted slightly, more sincere now. "It would be great if we could get recognition like Winter's Bone or Little Miss Sunshine—those films did wonders for the indie scene. But the goal, from conception to execution, wasn't about awards. Damien Chazelle's story was what mattered most."

With the conversation flowing so naturally, Bradley switched gears. "Speaking of Damien Chazelle, he's still quite a rookie. He's only got one film under his belt. So why did you take a gamble on him?"