The Sundance Film Festival was in full swing, while Hollywood's awards season was entering its final sprint. Yesterday belonged to the Weinstein Brothers, today to Natalie Portman, and tomorrow to James Franco...
Private parties were held almost daily, and news updates were pouring in at a relentless pace. It often seemed that just as one piece of news was being digested, another scandalous rumor exploded, the limelight shifting in a never-ending cycle.
As the voting deadline for Oscar nominations drew nearer, the clamor in Hollywood grew more intense. At this critical juncture, any substantial news could flip the script and change the game.
Take, for instance, the Natalie Portman body double controversy.
If negative news had broken out at this moment, Fox Searchlight wouldn't have had enough time to handle damage control. Natalie's Oscar prospects could have been immediately thrown into uncertainty, even removal from the nomination list wouldn't have been impossible. However, the news had surfaced over two months ago, affording Fox Searchlight ample time to gradually handle PR and mitigate the impact. At this point, attempting to alter the overall trajectory would be futile.
Of course, being nominated was one thing, winning was another. The impact this incident had on Natalie's bid for the coveted golden statue was still an unknown variable.
Amidst this backdrop, the official website of The New York Times Entertainment section released a new article, to be precise, a special feature that effortlessly captured the nation's attention.
"Under the Spotlight: A New Chapter Unfolds for the Genius of the Generation Y Leader: Renly Hall Shines at Sundance."
This special feature was authored by Bradley Adams. A veteran entertainment journalist, Bradley had been keeping an eye on Renly since the premiere of "The Pacific". After a prolonged period of observation, he had finally penned this article, truly bringing Renly into the public eye.
Within the article, Bradley provided detailed introductions to both "The Pacific" and "Buried", and even offered an immediate commentary on "Like Crazy". He showered praise on Renly's performances, noting that the three works showcased three distinctly different characters, and more importantly, Renly's performances exhibited subtle variations, demonstrating his remarkable versatility—an invaluable quality for an actor.
Bradley believed that Renly embodied a fusion of Laurence Olivier and Marlon Brando.
"In him, you can see a solid foundation in stage acting. His interpretation and delivery of lines are impressively skillful, each line infused with the weight of the script. Olivier is undoubtedly one of the greatest Shakespearean actors in theatrical history. Now, from this young actor hailing from England, we once again witness Olivier's caliber of line delivery. One can't help but imagine what it would be like if Hall were to interpret Shakespeare; what a sight it would be."
"In him, you can also witness explosive acting prowess. He unleashes emotional power instantaneously, expressed through every glance, every expression, every movement. This inevitably brings to mind the raw, primal, dominant, unreasonable yet tension-filled performance that the young Brando exhibited in "A Streetcar Named Desire"."
Bradley didn't merely critique the film "Like Crazy"; he stood at an elevated, summary standpoint, earnestly introducing this newly shining newcomer to the world of cinema enthusiasts.
Such a grand reception was truly rare.
In the conclusion of this special feature, Bradley stated, "With three consecutive outstanding performances, Renly's exceptional talents in acting have been fully showcased. What's even more commendable is that he's only twenty-one years old this year. Yet, the maturity, stability, and restraint he demonstrates in his performances transcend his age. A genius, an undeniable genius.
Perhaps, we are witnessing the rise of another "Marlon Brando". Becoming the witness to the history created by 'Renly Hall.'"
The article flowed extensively, encompassing all available information about Renly so far—his experiences in London's West End and Broadway, his musical talents, and his struggles prior to "The Pacific". It wasn't an exaggeration to say that this was the most comprehensive and profound analysis of Renly up to this point.
Bradley had been brewing this article for nearly half a year, finally seizing the peak moment of awards season to present his meticulously prepared masterpiece, which sent shockwaves throughout North America.
Genius.
This was Bradley's conclusion regarding Renly. Yet, it was more than just calling him a genius. He drew a parallel to two illustrious actors, Laurence Olivier and Marlon Brando, almost showering Renly with every word of praise possible. His exuberant admiration overflowed with profound respect.
For a newcomer, this was an incredibly weighty affirmation. Even Jennifer Lawrence's meteoric rise with "Winter's Bone" last year, or Edward Norton's remarkable debut in "Primal Fear", didn't receive such treatment.
But consider it carefully—though Renly was indeed a newcomer, within a year, he had participated in three works, all acclaimed in their own right. Not to mention "The Pacific" and "Buried", even "Like Crazy", currently blazing at Sundance, followed suit.
Flipping through newspapers, one could see all sorts of news about Sundance. "Like Crazy" effortlessly occupied the headlines, be it the sold-out screenings, the tidal wave of media praise, or the ensuing chatter after viewing. Within the past forty-eight hours, this film had become the most-discussed movie topic, rivaling the bustling atmosphere of awards season itself.
In this light, everything seemed to be unfolding naturally.
However, this wasn't just any media outlet—it wasn't the occasional "Celebrities are Born!" exclamations of the tabloids, nor the use of "genius" as a casual adjective in entertainment magazines. This was The New York Times, the unparalleled The New York Times!
The New York Times, the top authoritative newspaper in the United States, usually focuses on serious news such as politics, economics, and society. While they also include entertainment news to keep up with the times, the newspaper maintains a relatively serious and orderly style. Even in the realm of entertainment, news about films and the like is delivered with professionalism.
Undoubtedly, their influence ranks first in America and stands among the elites globally. Every piece of news is representative of the mainstream opinions of the East Coast's elite class in North America and can shake society and change lives comprehensively, not only in entertainment but also in economics and other domains.
And now, right in the midst of the clamor of awards season, The New York Times had published such a special feature. Though it wasn't in the physical print, appearing on their official website instead, the authority and professionalism were undiminished. They unreservedly dubbed Renly as a "genius", and the magnitude of this influence was indeed immeasurable.
The network propagation from Sundance, passing through the Yahoo Community, reaching traditional authoritative media like The New York Times, and then being fermented through the Yahoo Community's discussions, ignited a frenzy of debates on the internet, finally radiating back to Sundance.
Accompanied by intense attention, Renly once again stood under the spotlight, and along with him, "Buried" and "Like Crazy", these two works, gathered scorching gazes from all over North America.
Who could have anticipated such a result?
A film with a $3M budget, crew from a remote area in Spain, a director and lead actor who were completely unknown, and even a promotional budget of less than five hundred thousand dollars; another film with a budget of two hundred and fifty thousand dollars, a production team... primarily British, cast aside by Hollywood as outsiders, crew members on the fringes of independent cinema, and a practically nonexistent promotional budget.
Yet, it was these two independent films, connected by Renly, where the exceptional reputation of "Buried" paved the way for "Like Crazy" at Sundance. Meanwhile, the remarkable performance of "Like Crazy" propelled "Buried" forward during the awards season. It was difficult to extricate which work had offered more help to the other. However, it was certain that these two struggling works during their promotional phases had taken an unconventional approach of mutual support.
On Facebook and Instagram, the topic of "Renly's Oscar Nomination" surged to prominence. Fueled by The New York Times' extraordinary influence, it had entered the global trend of popular topics, sparking discussions on the internet.
However, an interesting twist was that "The Pacific" had already finished airing, the DVD release was yet to come, and HBO on-demand viewing was the only way to watch it. The number of theaters screening "Buried" hadn't exceeded fifteen hundred, making it niche within a niche. The cumulative box office figures also corroborated this perspective. As for "Like Crazy", it had just landed at the Sundance Film Festival.
In other words, even if people wanted to learn more about Renly, they couldn't find an effective way. The feeling was truly... frustrating.
Countless netizens began venting their emotions on the internet.
"@Renly Hall, I want to watch your works. Where can I watch them?"
"Does anyone know Renly Hall's Facebook or Twitter? Why can't I find his information?"
"In New Braunfels, "Buried" has already ended its run in the theaters. I'm crying in the bathroom."
"Oh my god, in Denver here, I've been to three theaters and still can't find tickets for "Buried"! Can someone tell me how I can watch this movie?"
"Does anyone know who Renly Hall is? Why is everyone talking about him? I searched, but I can't find any of his works."
"Can someone lend me a set of "The Pacific"? I want to see what's so good about that guy."
"To hell with Renly Hall. I can't see any of his works. Just those critics self-indulging. What the hell!"
...
On Twitter and Facebook, the topics about Renly were truly countless, some even resorted to scolding, but it was all in vain. They couldn't see it, so they couldn't see it.
Relatively speaking, the audience currently in Park City were undoubtedly fortunate. Even if tickets were scarce, at least they could find theaters, wait at the entrance, and quietly await the opportunity to watch "Like Crazy".
"Greetings from Park City. Managed to get tickets for "Like Crazy"! *Heart*!"