Renly felt incredibly fortunate. First, he encountered "50/50", a work that gave him a new understanding of acting, opening a fresh door for him. Then, there was "Detachment", which provided him with a different interpretation of art, allowing him to touch upon higher levels of performance. Though he still felt somewhat unclear and couldn't articulate it fully, it was evident that "Detachment" wasn't just a simple graduation exam for method acting.
Facing Tony's question, Renly didn't answer immediately. Over the past ten days, this brief period had been insufficient for him to form a deep and comprehensive understanding of the Bronx. However, it had been enough to give him a preliminary understanding of the background and soil of "Detachment".
"Dark," was the first word that came to his mind, strictly speaking, not just an adjective but the most fitting term for the Bronx.
Renly began his discussion seriously. "They live in darkness. More precisely, they don't even know what hope is. Survival is their sole concern. As for anything beyond that—happiness, beauty, and all things good—they are oblivious. This is the reality their families, schools, and society have given them."
Some might ask, why don't they pursue education, which is their only way out? Why don't they strive for better lives, escaping this mire? Why don't they resist and accept reality blindly? The answer was simple: they genuinely couldn't see it. In their lives, survival was already challenging enough, and anything beyond that seemed impractical.
It was like trying to teach a three-year-old to seek freedom when they were starving. In those innocent eyes, there was only confusion. This description might seem cruel and indifferent, but it was the truth. For the young people of the Bronx, hope and freedom were meaningless concepts.
After a brief pause, Renly's thoughts returned to "Detachment". "I think this is why the character of Henry was created. His inner self has also died, and he is trapped in the same abyss as those students. He knows their numbness and confusion well because he's felt it too. But once, at least once, he had hope and happiness. He knows what that feels like. He tries to save them through education, within his capabilities."
Renly sighed lightly, a faint hint of bitterness at the corners of his mouth. "But how can someone who can't even save themselves become a hero to others? Just like how a society that has already decayed cannot awaken the people's fighting spirit? The difference between a film and art lies in the fact that the film focuses on Henry, narrating his pain and struggle, while art places the emphasis on education, centered around Henry and the interactions with three female characters, revealing the decline and darkness of education. It's the same script, the same subject matter, but in different directors' hands, it brings out various layers and depths. Of course, in the hands of different actors, it'll portray entirely different textures and resonances."
Tony stared blankly at Renly for quite some time, gazing at him with teary eyes. Suddenly, he became emotional. Renly had genuinely understood the core creative intent behind his work, even more profoundly and insightfully than the screenwriter Carl. It was incredible! Those emotions of ups and downs felt somewhat like déjà vu from childhood. He nodded vigorously, unable to say a word.
In the beginning, when Tony chose Renly and passed up on Adrian, who was on the brink of fame and at the right age, there might have been hesitations and uncertainties within Tony. But ultimately, he believed in Renly's acting sensibility and the discerning eye of Woody Allen.
Now, Tony could finally let go of his worries. Even before shooting had started, Renly had won his trust. The deeply moving feeling of finding a kindred spirit surged in his chest, eventually manifesting as tears of joy in the corners of his eyes. He smiled brilliantly and said, "Yes, indeed." Tony nodded repeatedly, expressing his affirmation. "I think your experiential journey can come to an end now. Go back, take a few days off, and then prepare for the shoot."
As an observer, Tony couldn't help but feel a bit uneasy watching the disheveled and dirty Renly. It seemed like he hadn't taken a shower in ten days, emitting a sour odor, with even some flies buzzing around. If the audience were to see Renly like this, they might be too startled to utter a word.
"Fast 5" was still playing in theaters, while Renly had made such a sacrifice for his new role. Tony held great admiration for this level of dedication.
But as the person in question, Renly casually waved his hand, seemingly unconcerned. "Since we've started, I'll see it through. These few days won't make a difference." The most grueling part was already behind him, and in the coming days, he could explore more facets of the Bronx.
It was akin to when he was filming "The Pacific" initially, Renly had met Tim Barnes, who had experienced two wars. Unfortunately, due to the filming schedule, he hadn't been able to engage in deeper conversations. Similarly, he hadn't been able to befriend the late Eugene Sledge. These worlds beyond the script were the most wonderful part of an actor's life.
Living each day as a homeless person, Renly understood the ups and downs of life better than anyone else. Just not being able to take a shower alone was enough to make life unbearable. If given the choice, he would undoubtedly prefer to be lying comfortably on his apartment couch, enjoying his vacation. But comparatively, the Bronx outside of the "Detachment" script, the miserable world beyond Henry, held greater allure for Renly.
In fact, he was reveling in it.
Glancing down at his own pitch-black, dirt-covered hands with filth embedded in the crevices of his fingers, Renly made a somewhat "disgusted" expression, raising an eyebrow lightly. "The last thing I need right now is a mirror. Otherwise, I don't even know what I might do."
His self-deprecating, self-disgusted demeanor provoked hearty laughter from Tony, who then shook his head helplessly. "Well, you enjoy your homeless experience. As for me, I'm heading back now. I'll be lying on my armchair, sipping whiskey, and watching some trashy TV shows to savor this night."
Renly glanced back at the street behind him. During their conversation, night had already fallen. Neon lights on the roadside were gradually coming to life, casting a hazy and blurred halo against the indigo night sky. "Do you need me to escort you to the parking lot?"
Tony looked down at his tattered attire—his shirt's collar was fraying, and his unkempt pants had visible wrinkles from a lack of ironing. His dirty shoes seemed to have gone through some rough play during rainy days. "Don't worry; no one would want to rob me. Honestly, I only have fifteen dollars on me, and I don't mind giving it all to someone in dire need."
"Then I wish you good luck," Renly replied, not indulging in further pleasantries. "Thankfully, summer has arrived." In relative terms, life conditions were less severe and urgent during the summer, and the city's crime rates were slightly better. But it was only "slightly".
After speaking, Renly nodded in Tony's direction and confidently walked away from the Starbucks. He contemplated an important question: where should he sleep tonight?
The previous night, a homeless man had invited him to a party in an abandoned building tonight. Although it wasn't explicitly stated, it was undoubtedly a drug party. Renly had no interest in drugs, but he was seriously considering whether he should gather information from that scene. Perhaps he could see if any underage teenagers were involved. And, who knows, maybe he could find shelter nearby for the night.
Tony remained seated, watching Renly's figure recede into the distance until he disappeared among the vibrant neon lights. His excitement was hard to contain. Expectations for the film "Detachment" were rising, and his creative passion was burning brightly. He couldn't help but wonder what surprises Renly would bring in front of the camera.
He finished the remaining coffee in one gulp and left Starbucks, making his way back to his parked car. However, when he arrived, he found that all of his car tires had been stolen, leaving an empty frame in the parking spot. He had to call the insurance company and then arrange for a tow truck. Ultimately, he chose to take the subway home.
But even so, his good mood remained unaffected.
Time passed quickly, and in the blink of an eye, the official shooting date for "Detachment" had arrived. For Tony, for Renly, for the crew members, it meant diving into work once again, diving into the world of artistic creation. And for some young individuals, it meant the opportunity to work with top-tier actors. Just thinking about it made their palms and feet sweat profusely.
Exhale, inhale; exhale, inhale.
Under normal circumstances, these were the simplest and most ordinary actions. But at this moment, Sami Gayle found them incredibly challenging. She could vividly feel her heart violently contracting and expanding in her chest, the intense and erratic beating causing a dull ache. Even her breathing rhythm was completely chaotic.
Raising her hand, she touched the vein behind her ear. The pulsations were alarmingly rapid, as if every muscle in her body had been set in motion. She couldn't help but open her mouth wide, taking deep breaths, then clenched her fist and jumped in place several times, trying to calm herself down.
However, this was no easy task.
She had just turned fifteen earlier in the year, and "Detachment" was her very first film project. While she had appeared in two television dramas before and wasn't new to facing the camera, the current situation was entirely different. The cast included Renly Hall! A name that could make people scream!