Hollywood: The Greatest Showman

Chapter 203: Invitation For A New Work

Chapter 203: Invitation For A New Work

The coffee shop was bustling with activity, with more than twenty people crowded around the counter, eagerly discussing just how outstanding "The King's Speech" was and how marvelous Colin Firth's performance was.

Most of the people were opting for takeout, given the lively atmosphere of the Telluride Film Festival. No one wanted to waste time idly sitting in a coffee shop when they could be hopping between cinemas all day. Consequently, there were still a few empty seats available.

"A latte and a slice of Black Forest, please." The chubby man with curly hair handed the menu back to the waiter, then noticed Renly's piercing eyes. There was no particular scrutiny or inspection, just a calm gaze like a clear spring, yet the deep, unfathomable darkness of his eyes made one curious.

He had grown up in Orange County, a typical middle-class community near Los Angeles, where the residents were all elite professionals such as lawyers, judges, doctors, fund managers, and government officials. Having been influenced by such an environment, he had seen plenty of the so-called upper echelon and elite, whose arrogance and condescension were truly off-putting. This was one reason he fled Orange County, shedding all constraints to wholeheartedly pursue his film dreams.

Renly in front of him piqued his curiosity. He could sense Renly's hidden detachment beneath his gentlemanly demeanor, but it wasn't offensive, let alone arrogant. This gentle yet resilient, smooth yet sharp aura made him somewhat likable.

So, he gave a broad smile and extended his right hand. "My memory is terrible; I forgot to introduce myself. Drake Doremus. Sorry to interrupt your movie plans today."

Upon learning that the chubby curly-haired man was a director who invited Renly to collaborate, Rooney left, intending to catch "127 Hours," a film featuring her sister that she hadn't had time to watch. Eventually, only Renly and Drake remained in the coffee shop, where they found a place to sit down and talk.

"Renly Hall," Renly said, shaking Drake's right hand with a composed demeanor. "The charm of Telluride is that everything revolves around movies. Even now." Internally, however, he was filled with questions: Drake Doremus? Who?

Renly wouldn't claim to know every film out there, as the vast history of cinema is immense, with countless movies, many of which are obscure. Yet, he was quite familiar with films post-2000, having watched nearly all of them, including the lesser-known ones. However, he couldn't recall the name Drake Doremus.

What did this mean? Did it imply that Drake wasn't worth knowing? That his work was insignificant? Perhaps just an unnoticed indie film? Should he turn and leave now?

No, Renly chose to stay. As he mentioned, this was Telluride. Even if Drake was a nobody, making a friend who shared a passion for film was still worthwhile. Moreover, Renly wouldn't arrogantly claim to know every post-21st-century film; that would be too presumptuous.

"I like your response," Drake said with a smile, reaffirming his thoughts on Renly's easygoing and composed demeanor. "In fact, I'm preparing for my third movie. The preliminary work is all done, and we can start filming anytime, but the problem is I haven't found the ideal male lead."

Drake was telling the truth. He had been searching for the right actor for almost three months, to no avail.

For low-budget indie films, every step is challenging. The actors he liked were too expensive or didn't like the script. The actors he could find didn't fit the role. Finding the right actor was like looking for a needle in a haystack, never knowing when they might find the treasure.

That's why many indie directors have a fixed cast, often friends they know well or actors they enjoy working with, resulting in repeated collaborations.

Drake believed Renly understood this well, having just finished "Buried," another low-budget indie film.

Sure enough, Renly chuckled, "Hope your standards aren't too high."

Drake smiled back, "My standards are high, which is why I've waited until now." Their coffee arrived, and Drake pushed the cup forward, leaning in slightly. "Have you seen Richard Linklater's 'Before Sunrise' and 'Before Sunset'?"

"Of course," Renly replied, recalling a joke with Rooney the night before, and couldn't help but smile. "Are you planning a similar romance film?"

"Yes and no," Drake said, a hint of pride in his eyes. "I want to tell a story of two people who meet, get to know each other, and fall in love, like two flames passionately colliding. But then, due to unavoidable circumstances, they are forced to be apart. Their intense love faces the test of long-distance. Where will this relationship go?"

Drake's description brought back memories for Renly. He thought of a film with a similar storyline—"Like Crazy."

This film tells the story of two college students, Anna and Jacob, who fall in love madly, forgetting everything else. Anna, a British student, overstays her visa to stay with Jacob. Later, when she has to return to the UK for a friend's wedding, she finds herself barred from re-entering the US, putting their love to the test.

"Like Crazy" was one of Renly's favorite romance films.

For many, the film depicts the pain and struggle of long-distance love. But Renly saw it differently. He believed "Like Crazy" showed the true face of love—from the initial chemical explosion of passion to the gradual cooling as love becomes part of daily life, worn down by mundane tasks until it loses its original spark.

As Drake had just said, "Like Crazy" resembled Linklater's trilogy—"Before Sunrise," "Before Sunset," "Before Midnight"—showing the complete face of love from rise to fall, real and brutal, beautiful and heartbreaking. However, "Like Crazy" differed by exploring the essence of love—is it about passionate collision or long-term companionship?

In everyday life, love can't always be at boiling point. There are peaks and valleys, but what happens when your beloved is not around to share key moments? Does love still matter? Especially when two lovers are separated by time and space, constantly missing each other—will they fade from each other's lives? At this point, how should love continue?

Drake didn't provide a direct answer in the film, leaving it open-ended for each viewer to interpret. This was one reason Renly loved the film so much.

Optimists might think they overcome all odds and stay together. Pessimists, like Renly, believed time's erosion eventually changed them, making it impossible to return to the past.

"Like Crazy" was a niche film—too real and brutal for some, almost unbearable; too delicate and beautiful for others, reflecting their own experiences. Its box office performance was underwhelming, and the promotional impact was mediocre. However, critics unanimously praised the film, awarding it the Grand Jury Prize at the Sundance Film Festival.

Unfortunately, it didn't gain traction during awards season, overshadowed by "The Artist" and "Midnight in Paris," failing to secure any major nominations. This was rare—previous Sundance winners had consistently earned Oscar nods, with some winning Best Picture nominations for consecutive years.

Despite this, Renly's affection for "Like Crazy" remained unaffected.

However, he hadn't known that Drake Doremus was the director of "Like Crazy." Or rather, he had researched Drake but found his subsequent works, including 2015's "Equals," less impressive, leading him to gradually forget the director. Thus, the name didn't ring a bell earlier.

"Like Crazy" was exceptional because it was based on the director's own story—his and his wife's real-life experiences, making every detail and emotion relatable. In the movie, Anna and Jacob end up together, scarred but embracing. In real life, Drake and his wife divorced in 2008.