The Greatest Showman - Field Shooting

In the script penned by Damien Chazelle, the top music school, Shelford College, is depicted, but it is clearly modeled after the Juilliard School, the foremost music institution in North America and, arguably, the world. One line in the script mentions that the "golden signboard is the biggest business card," a phrase that directly reflects Juilliard's reputation.

To authentically capture the essence of Shelford College, Damien reached out to Juilliard, hoping to film within the school's historic walls. To his surprise, and perhaps not so much, Juilliard welcomed the opportunity. Upon learning that Renly Hall would star in the film, the Juilliard School generously granted permission for the crew to shoot on location. Fortunately, it was summer vacation at the time, so while a few students remained for summer classes, most were on break, which made the filming much easier.

However, the timing posed another challenge. With summer being the peak season for performances, Lincoln Center's venues were fully booked for months in advance. Even if Andre Hamilton personally requested a booking, he wouldn't have had luck securing a slot.

Thankfully, the Juilliard Student Union stepped in, facilitating the arrangement. Alice Tully Hall, a key venue within Lincoln Center used year-round by the Chamber Music Society and the New York Film Festival, is also part of Juilliard. While most performances were locked in, a few adjustments were possible. After a round of rescheduling, the "Crackling Drummers" crew was granted three full days of filming time — a rare privilege.

For Damien, the process was almost unbelievable. To secure such a valuable filming opportunity with just a name — like a business card — was a surreal experience. It was done efficiently, saving time, energy, and money.

He had been concerned that Juilliard might reject the request, especially given how "The Bursting Drummer" painted jazz and its teachers in a rather dark light. The film's portrayal of Peter Urs, the drummer, was critical, and Shelford College was an obvious allegory for Juilliard itself. But to his relief, Juilliard did not refuse; rather, they opened their doors.

This was a testament to the immense value that a renowned name like Renly Hall brings, not just in terms of fame but also in networking, resource integration, and authority. Even in independent filmmaking, fame has its perks that transcend box office success.

Rooney, Paul, and Ryan walked through the Juilliard campus, which combined postmodern and Victorian architectural styles. The building, which had stood for over a century, exuded a modern yet timeless New York sensibility. Inside, there was a calmness that contrasted with the chaotic outside world of Manhattan. The air was filled with an indescribable classical charm — serene, elegant, profound. It was impossible to capture the atmosphere fully in words, but its effect was undeniable.

Perhaps it was the trumpet keychains hanging from student lockers, the empty rehearsal rooms filled with instruments, or the sounds of violin music drifting from upstairs. The entire building seemed alive with subtle musical symbols, making it feel as though the very ground beneath their feet was pulsating with rhythm.

As they walked, they instinctively quieted their steps, trying not to disturb the sacred stillness that surrounded them. Even though sets can be constructed to look like real spaces, the energy and history that a real location carries can't be replicated. It's why many directors insist on shooting on location — for that authentic atmosphere that simply cannot be faked.

After some searching, they eventually found the filming location. The crew had moved from one rehearsal room to another. Even with a relatively small team, there were still nearly 30 people, which made the bustling movement impossible to ignore.

"Hey, Rooney!" Damien greeted them warmly from a distance. His smile, while shy, was cheerful and sincere. He then turned his attention to Paul and Ryan, offering a kind introduction: "Good afternoon, I'm Damien."

"Ryan."

"Paul."

Damien grinned, his eyes lighting up. "Of course, I know who you are. I've seen your work, both of you."

"Thank you," Ryan replied with a nod. He then joked with a touch of cold humor, "If there's ever a chance to work together, I'm all in. Though I haven't seen your work just yet, I trust Renly's judgment. If he's worked with you, I consider that my pass."

Ryan's tone was a little lighter since he hadn't yet been briefed on the full context of their visit. Rooney, still somewhat apprehensive, asked, "How's the shooting going?"

Damien smiled and nodded enthusiastically, "Everything's going great. Renly's performance has been incredible. I thought 'Buried Alive' and 'Take Off' were powerful, but seeing him on set, I realized what real acting looks like." He rubbed his hands together in excitement. "We just shot a huge scene. The chemistry was amazing. It was intense, in the right way, showing the raw essence of the moment. You could feel the pain and joy in every frame. Renly is such a rare talent."

Damien's words were full of excitement, creating a sense of anticipation, which naturally sparked Ryan's interest. Yet, there was an undercurrent of normalcy to Damien's tone that reminded Rooney of Renly's earlier state — a feeling of unease lingered, though faint.

Paul, sensing Rooney's hesitation, stepped closer and whispered, "Don't worry. Renly knows exactly what he's doing."

Rooney looked up and met Paul's gaze. She offered a small, reassuring smile before nodding. "Let's go see what Renly's up to. Damien's description has certainly piqued my interest. I'm already envious of the audience who will get to experience this on the big screen."

The joke seemed to lighten Paul's mood as well, and they all made their way to the practice room.

Once there, however, they were halted outside, as the cramped space was fully occupied. The room was only about six meters long and four meters wide — barely enough for a few crew members, let alone a mattress, drum set, cameras, lights, and Renly. The small space was packed to the brim.

At the center, Renly lay flat on a Simmons mattress, his upper body stretched out, his lower body supported by the wall. Headphones were in his ears, fully immersed in Buddy Rich's music, preparing for the next scene. In the following sequence, his character, Andrew, decides to take his musical journey to the next level after enduring humiliation from his instructor, Fletcher. Andrew moves his belongings into the practice room and vows to stay there until he masters "Whiplash."

This determination laid the foundation for the character's growth, contrasting with Renly's own method of immersion into the role. While Renly was listening to Buddy Rich's "Whiplash" not to serve the plot, but to internalize its rhythm and pain, his deep understanding of the track would be essential to portraying the struggles of the performance.

As Ryan stepped forward to greet Renly, both Paul and Rooney hesitated. The tension was palpable.

Ryan, unfamiliar with Renly's process, couldn't quite understand the situation. Paul leaned in and explained softly, "Renly needs time to get into character. He likes to fully prepare before the shoot. It's part of his method. I've seen it during 'Degree and Passion 5' and 'Off.'"

The explanation made Ryan pause. He recalled a comment from The New York Times: "Is Renly a genius in the spotlight, or a madman behind the scenes?" The answer, perhaps, lay somewhere in between.