The Greatest Showman

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"Sir, haven't you introduced yourself yet?"

When Carl heard this sentence, his brain didn't turn around for a while, he was stunned for half a second, then he laughed dumbly, and then nodded, "Karl Lund, an unknown writer in New York."

"Renly Hall, an actor."

Carl was stunned for a moment, and then he understood. Those self-deprecating embellishments and those ridiculing descriptions actually reflect the greed and desire in the depths of their hearts. Only those who desire to be famous will emphasize that they are "unknown"; only those who desire to be successful will emphasize themselves. "abjection". After stripping off those tedious modifiers, the original and true appearance is the true meaning of returning to the original.

"Karl Lund, a writer."

Carl resumed his self-introduction. This upright and calm attitude was beyond Renly's expectations - he didn't mean to attack, and he didn't mean to be malicious, it was just a simple introduction. After returning from Sundance, his mentality has gradually changed, and he has unconsciously adopted this expression.

However, Carl's attitude won Renly's respect.

"Nice to meet you, Mr. Lund."

Renly scoured his memory, and he really couldn't think of a writer named Karl Lund—or a screenwriter.

Of course, there are countless screenwriters in Hollywood, not to mention those who have no reputation at all, just counting those with small names, there are thousands, and it is impossible for Renly to remember every name. However, judging by the current situation, the most likely explanation is that this is not a movie, but a play. Broadway play.

In the last life, Renly had almost no research on drama, and his mind was naturally empty; in this life, Renly had been rolling around in the West End and Broadway for a while, but in the end, it was too short, and the playwrights he knew were very limited.

Judging from Carl's speech and behavior just now, both Edgar Allan Poe and the way he expressed it revealed a strong literary and artistic atmosphere, which was slightly inconsistent with the style of the movie, but it was very consistent with the feeling of Broadway.

"So, that gentleman just now?"

Renly didn't say much, and when he clicked, Karl responded immediately, "That's Tony Kaye, director." Karl explained simply, "He's a freak, and his behavior is always out of place, even if It's me, I've known him for a few years, and I'm still not used to it. After Woody read our script, he thought, you are the right person, and brought us here... That one is Woody Ai Lun, do you know him?"

"I'm someone who likes to read newspapers." Renly's answer made Carl smile.

"That's the way it is. Tony and I were very curious about you after hearing Woody's introduction. But after we met, we found out..." Carl looked Renly up and down again, and that special texture disappeared again. , returned to calm, which made Carl unable to help but shake his head gently, "It's really deviating from what we imagined. But, no matter what, we were rude just now."

That way, things make sense. All the question marks are concatenated.

Renly couldn't help but smile. But, as he says, artists are more or less eccentric and often out of tune with their surroundings. He is no stranger to this.

"Why me?" There was a hint of interest in Renly's eyes, but it wasn't for the project Carl said, but for Carl's determination. They had a brief exchange just now, but there was no more in-depth content, just clicked on So far. So, what is Carl's evidence for judgment? "Trust me, I'm younger than I look."

This with a little boastful ridicule made the atmosphere a little more relaxed, and Carl asked back, "Why, you don't have confidence in yourself?"

Renly's shoulders shrugged invisibly, and the corners of the gently raised mouth outlined a youthful wanton and uninhibited, "If the character is not set to be in his early twenties."

Going the opposite way, he answered in this way, successfully making a smile in Carl's eyes, "My conception, this teacher is thirty to thirty-five years old. If it is a little younger, I think you may need to stay. Some stubble, I'm not sure, this should be the job of a makeup artist, and I'm obviously not the best person to ask."

It reminded Renly of Andy's visit this afternoon.

For an excellent script, the age of the male protagonist is mostly over 40 years old; for young characters, the structure of the script is mostly unable to escape the shackles of topics such as youth, growth, and love, such as "Buried Alive" and "Love Crazy". There are really not many suitable and excellent scripts and characters. But what if it's a drama?

The class system in theater is far more rigid than in film. In Hollywood, there are countless miracles like "Twilight" that became popular overnight; but in the West End and Broadway, one can only persevere in polishing one's own strength and gradually accumulate experience, just like a bitter daughter-in-law becoming a mother-in-law, step by step Moving forward, there are no shortcuts.

But from another point of view, drama and film are different. Because of the distance between the audience and the heavy makeup, the influence of age is actually weakened. Moreover, drama tests the solid foundation of expressionism, regardless of age and experience. , more related to technical polishing.

The direct result is that the roles of dramas are richer and more changeable, and the age choices are more diverse. Even many drama scripts are mainly young people.

After all, both the West End and Broadway are now in decline, except for those classic old plays.

In addition, it is very rare that a script can be staged for three quarters. When writing, the screenwriters try their best to start to seek innovation and change. So, the key is still, the right script, the right role.

"Then, are you interested?" Carl looked at Renly with burning eyes, and then asked, "If you don't mind, we can sit down at the booth and have a face-to-face in-depth conversation to learn about the script and the characters. , you can also exchange opinions with Tony."

Although it was asking for Renly's opinion, those focused eyes said: I don't accept rejection as an answer.

This look really didn't match the sloppy appearance of the homeless man. Renly raised his head and emptied the beer bottle, and said neatly, "Why not?"

Carl took the initiative to stand up and led Renly to the seventh booth again. Before Tony could speak, Carl made a formal introduction.

The first meeting just now was because of the lack of the foreshadowing of this link, and everything became conflicted. Tony is like that, and so is Woody.

Much better this time.

After the greeting, Tony asked directly, "What do you think?" Without any politeness, this thoughtless remark followed his usual style, making people laugh or cry, even if he didn't know, he was asking Carl Still Renly.

However, before Renly could guess, Carl replied aloud, "That's him. He's the perfect choice."

There was a glint in Tony's eyes, and he did not hide his excitement at all, and said excitedly, "This is a very special role, and it is a very difficult role. First of all, he is a child, he needs to take care of Grandfather with Alzheimer's, and he tried to help him, but he couldn't stop the worsening of his condition."

"Secondly, he is a teacher. He needs to take care of students who may go astray or have gone astray. He wants to help them, but it is not an easy task." Tony is really excited, he has been While he was babbling, even whether Renly could understand it or not, without a preface, he went straight to the topic, and the huge amount of information was vented, which made people a little confused.

Renly didn't interrupt Tony, but listened attentively, piecing together an image of a character from the fragmented information.

It's an interesting process. In the previous three works, he did the work of constructing, analyzing, and even extending the character. He extended the world of the entire character outside the script.

But now, Tony is jumping ahead, portraying the characters in words before Renly gets the gist of the story. This is a step further than what Carl has just described, more detailed, more profound, and more specific at the same time. Combined with the outline Karl said, and the conversation he had with Karl, that image was coming to life in his mind.

"Again, he's a man, and he could be another woman's partner, another child's father. He needs to take care of others, but obviously he's too busy to take care of himself."

Tony was completely immersed in his own world, oozing, frothing, impassioned, frenetic, even terrifying.

Carl and Woody, who were sitting next to them, didn't speak. Before they knew it, they both became background boards, and it seemed that Tony was the only one left. And, of course, there was Renly listening.

"On the whole, he is a tolerant and helpless person. Under the calm surface, there are countless emotions and secrets hidden. He tries to redeem others, but is powerless. Many times, he must first complete self-redemption. But in the process, he watched helplessly as others slipped into the abyss little by little. The feeling of helplessness and even despair was like drowning, and the negative emotions were slowly pulled away little by little. ."

Tony suddenly waved his hands and stopped abruptly in the air, looking at Renly with burning eyes. "The point, the point is here! What I need is not to show the whole process, not the process of soul breakdown, nor the process of going from hope to despair or from despair to hope, what I want is a state, a state of struggle. "

"Struggle is a verb, I know, but I need it to be a noun in the film, a state of stagnation. I know, it's difficult, but that's what the film is about. Can you do it?" Tony The whole person leaned against the edge of the table, staring at Renly, waiting for an answer. He didn't seem to have any intention of moving until Renly had an answer.

"Does this work have a name?" was Renly's first response.

Tony showed a big smile, a smug look in his eyes, and said syllable by syllable, "'detachment'."

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