The-Greatest-Showman

"The killer?" Renly was familiar with Andy, but the name itself seemed to have already become a blockbuster. So far, their collaborative relationship had always been harmonious, with both maintaining a balance between business and art that had proven compatible. Thus, Andy's mention of a "killer" was bound to raise expectations.

Andy didn't deliberately stir the pot, but the mere mention of a single name spoke volumes. His words overflowed with anticipation and curiosity: "Christopher Nolan."

Every era leaves its cultural imprint, and each generation has its icons. Some of these icons withstand the test of time, becoming true classics that are passed down through generations. The former might include something like the Star Wars series, while the latter could be likened to Growing Pains.

Christopher Nolan is undoubtedly one of the defining figures of 21st-century cinema. From his debut with Following to the more mature style of Memento and Batman Begins, his career built toward iconic milestones. His The Dark Knight trilogy is globally renowned, and films like The Prestige, Inception, Interstellar, and Dunkirk showcase his growth as a director. One step at a time, Nolan solidified his legacy.

In fewer than 20 years, Nolan had amassed a dedicated global fanbase, some of whom even considered him the greatest living director.

Of course, labels like "greatest" are often divisive. The term tends to rile up other devoted fans, sparking debates and controversies. While the notion of "greatness" is subjective, the passage of time and critical examination are often what elevate excellence to the status of true classic. Whether or not Nolan should be crowned as a "god" of cinema is a valid discussion, but one thing is beyond debate: Nolan has undeniably become a cultural phenomenon. For this generation of moviegoers, the impact of The Dark Knight and Inception is immeasurable.

Renly was no exception.

In Nolan's films, his signature style dominates, often overshadowing even the most talented actors, such as Christian Bale and Leonardo DiCaprio. In Nolan's world, these actors aren't characters in the traditional sense—they're more like stylized silhouettes within a director's visual and narrative vision. The notable exception is Heath Ledger's Joker, which transcended the conventional framework. This was a rare instance where character, story, and actor came together to create one of the most iconic villains in film history—something that wasn't simply the result of Nolan's direction.

When working with actors, Nolan's approach is to define the character's framework, ensuring that the character meshes well with the story, shots, and overall visuals. Beyond that, he allows the actor to infuse their own interpretation. He doesn't ask for extraneous performance; it's like drawing a dungeon, confining the actor to a specific space, and letting them work within that space.

Objectively speaking, Nolan does leave room for actors to shine. However, his editing and visual style are so overpowering that audiences tend to focus more on the direction than the individual performances. Thus, whether an actor's performance is stellar or not often goes unnoticed.

Nolan is not necessarily a director known for drawing out complex performances, but he is undoubtedly a master at utilizing actors to serve his narrative vision.

That said, countless actors still seek to work with him, not for the chance to showcase their acting chops, but to be part of a director's unbounded creative imagination. Nolan's films—whether The Dark Knight, Inception, or Memento—are distinguished by his unique use of editing and cinematography to construct an intricate, almost philosophical exploration of time and reality. His films offer a viewing experience that feels both real and illusory at once.

Such opportunities are rare.

So, is Christopher Nolan Renly's favorite director? Perhaps not. But there's no doubt Nolan is among Renly's top directors. Given the opportunity, Renly would jump at the chance to star in a Nolan film. The Dark Knight, Inception, and Dunkirk stand out as his personal favorites. He once regretted missing out on Inception, a film he had hoped to be a part of.

Thus, when Andy mentioned "Christopher Nolan," Renly's excitement was palpable.

"Wow, are you serious?" Renly asked, his voice full of joy and excitement.

Andy remained calm and lowered his voice deliberately. "Nightcrawler or Nolan. Which would you prefer?"

It was a hypothetical question, but Renly took a moment to ponder before replying, "Nolan."

Andy was surprised by the answer. "Remember what I told you before? You were looking to challenge some lighter and different roles."

Renly nodded. "Yes, I remember. You even said you'd be open to playing a vase if the role called for it."

"That's the spirit," Andy said with a slight smile.

Renly continued, "The script and character of Nightcrawler are incredibly compelling—probably the most exciting performance opportunity I've had since Love Crazy... But right now, I want to take on roles that push me to rethink myself, characters that challenge me. Whether it's a villain or a comedic character, Nolan's films seem like the right fit."

Andy nodded, finally understanding. It all boiled down to timing, and the influence of Whiplash was becoming evident in Renly's evolving career choices.

"However, the reason Nolan's name came up isn't because of his fame," Andy explained. "Everything is still in the early stages. I don't even have a script or project proposal in hand. I've spoken with Nolan once—that's it. Nothing is confirmed yet."

Renly listened patiently, intrigued.

Andy continued, elaborating on the project's origins.

The idea for the film began in 2007, when astrophysicist Kip Thorne and producer Lynda Obst conceived the idea of a black hole and wormhole-based movie. The basic theories behind the story were already in place.

Kip Thorne is an esteemed theoretical physicist at Caltech, renowned for his contributions to black holes and general relativity. He had worked closely with Stephen Hawking and Carl Sagan, cementing his reputation in the scientific community. In The Theory of Everything, Kip was one of the three mentors who judged Stephen Hawking's doctoral thesis.

In 2017, Kip Thorne won the Nobel Prize in Physics.

The project's initial goal was to present complex concepts of relativity to the public, a mission that aligned with Kip's long-standing efforts to make science more accessible. In 2007, Lynda Obst enlisted Steven Spielberg to help bring this vision to life, and Spielberg, in turn, hired Jonathan Nolan to write the script. Jonathan had already written scripts for Memento and The Prestige, and after finishing The Dark Knight, he began work on this project for Spielberg.

However, the project stagnated. Kip's insistence on keeping the story grounded in real scientific theory made it difficult for Jonathan to write a workable script. The technical challenges were overwhelming, similar to the hurdles faced by films like Gravity. Without the necessary technical support, the film could never be made.

Ultimately, Spielberg dropped out of the project, and Christopher Nolan, having just completed The Dark Knight trilogy, took over.

Christopher then visited Caltech and consulted with Kip for six months. They held classes and discussions before finally writing the script. The Nolan brothers wrote the final version, which bore little resemblance to the original 2007 version.

With the script now complete, the technical aspects of the project reached a level suitable for production. But issues arose when Warner Bros. and Legendary Pictures split. Christopher, who had worked closely with Warner Bros. for years, was faced with a dilemma. Should he continue working with them?

The project is now in limbo, caught in a chaotic state with no clear direction. Andy had spoken with Christopher about Renly's involvement, and Christopher expressed interest. However, nothing is certain at this stage, and the future of the project remains unclear.