Canvassing emails

Amidst calm waters, a storm had been suffocated in its cradle.

While the exact unfolding remained shrouded, Renly knew that whatever had provoked Andy's loss of composure, the situation was far from simple. "So, how did you eventually handle it?" Renly inquired.

"Even if "Buried" secures the nomination in the end, Chris won't be allowed to attend the awards ceremony," Andy's tone was casual, yet it carried a chillingly resolute edge, "Moreover, he's truly... foolish."

In selecting adjectives to describe, Andy hesitated for a moment before settling on his choice, causing a wry smile to curl on Renly's lips at the other end of the line. "Even Features Films is dumbfounded internally. His path in Hollywood is bound to become incredibly arduous."

"In case any journalists inquire, play ignorant. Rest assured, Focus Features won't leak this." Andy instructed. Although the situation had been contained, the recent disqualification of "Crisis in Three Days" had sent ripples through all of Hollywood. Reporters were like prairie dogs, tirelessly seeking loopholes; caution was still paramount.

"You needn't worry about me," Renly reassured with a smile, displaying no trace of agitation. "By the way, I played a little trick on a 'Entertainment Weekly' journalist just now, and it's highly likely he might spread rumors about me dating Jessica Chastain."

In just a few words, a wealth of information was revealed. Andy's mouth opened, eventually molding into a relaxed smile in the depths of his eyes. "Is that true?"

"You said that if I had a date, I should report to you. It's not yet time." Renly's reply drew a light chuckle from Andy. "Alright, I won't disturb your work anymore. I have a film waiting for me to line up."

"Remember to promote it well," Andy advised. "Otherwise, after taking such a big risk and choosing this film, if it doesn't hold value, I'll be greatly disappointed."

Renly chuckled softly, not answering, and simply hung up the call.

Andy placed the receiver of the landline phone back in its place, pondering in situ. With less than a week until the Oscar nominations were announced, "Buried" struggling to defeat "127 Hours" and secure a nomination remained a daunting task. They needed a miracle, a not-so-small miracle, akin to Renly surpassing Al Pacino at the Emmys.

Renly poured the black coffee from the cup into his mouth, preparing to leave, when his phone received a text message from Andy: "Delete it after reading, leave no evidence." This cryptic message left Renly perplexed, but soon after, he received a new email in his inbox.

Considering briefly, Renly opened the email.

"To the esteemed members of the Academy of Motion Picture Arts and Sciences,

...Roger Ebert awarded "Buried" a full four stars, offering a double thumbs-up praise for the film; Variety commended "Buried" for its genius execution in generating and maintaining tension, a performance that would make Hitchcock proud; "Buried" also won the Best Original Screenplay award from the American National Critics Association in 2010...

This is a film masterpiece that deserves careful and repeated viewing. The solid foundation of the script is nothing short of astonishing. We hope the esteemed judges will cast their precious votes for it.

Yours sincerely,

Chris Sparling."

After reading this email, Renly couldn't help himself; the smile that had lingered in his eyes flowed to his lips, curving gently upward. Finally, he understood Andy's intentions. Chris Sparling was indeed... arrogant and foolish.

The Academy explicitly prohibited sending any letters praising specific aspects, achievements, or originality of a film; quoting any form of reviews from various circles was forbidden; mentioning any awards received by the film was strictly prohibited, and any form of vote solicitation was even more forbidden.

In simple terms, Chris's email had transgressed all of the Academy's taboos, effectively daring the consequences.

Of course, was what Chris said true? Yes.

Roger Ebert, as the most influential film critic in the United States, had lavished praise on "Buried" at the Toronto Film Festival, and these reviews could be found in the Chicago Sun-Times. The remarks from Variety magazine and other related reviews were all authentic, including the line about Hitchcock feeling proud.

The National Society of Film Critics Awards was one of the most important awards in North America, established in 1909. It was alongside the New York Film Critics Circle, the Boston Society of Film Critics, the Los Angeles Film Critics Association, and the North American Broadcast Film Critics Association, collectively known as the five major film critics associations in North America.

Among these, the National Society of Film Critics Awards, the North American Broadcast Film Critics Association Awards, and the Golden Globe Awards were referred to as the "Big Three Oscars Indicators", showcasing their significance.

During awards season, in addition to the Big Three Oscars Indicators, SAG Awards, Director's Guild Awards, Producer's Guild Awards, Editor's Guild Awards, and Writer's Guild Awards were regarded as the Five Major Guild Awards. Furthermore, awards from the New York, Boston, Los Angeles, and other film critics associations were absolute powerhouses, playing a crucial role in determining the trajectory of awards.

Not long ago, the National Society of Film Critics Awards announced its winners for the year. "The Social Network" swept the field, clinching major awards such as Best Picture, Best Director, Best Actor, and Best Adapted Screenplay. Thus, after the Golden Globes, it was widely believed that "The King's Speech" would find it difficult to compete against "The Social Network" this year.

However, above the National Society of Film Critics Awards, there was another significant winner: "Buried". Not only did this film secure a spot among the Top Ten Films of the Year, but it also bagged the awards for Most Breakthrough Performance and Best Original Screenplay. The film's momentum during awards season was widely recognized.

Chris specifically mentioned the National Society of Film Critics Awards in his email precisely because of its significance. However, there was one small detail. He only mentioned the "Best Original Screenplay" award. For him, as a screenwriter, this email could be seen as purely self-serving.

Although everything mentioned was factual and the traction of "Buried" was indeed impressive, such straightforward self-praise still violated the Academy's regulations and, more than that, cheapened the film's standing.

If "The Social Network" and "The King's Speech" were to list their accolades and awards, a single email wouldn't suffice; they'd need to attach files and slowly compile it in the form of a table. As for "Buried", its current position during awards season, let alone comparing it to the leading contenders, even when contrasted with works like "127 Hours", "Winter's Bone", and "Blue Valentine", it still remained at a disadvantage.

Chris's self-promotion was a colossal joke, especially in the eyes of genuine professionals.

Even though Renly had only entered Hollywood a year ago and was largely unfamiliar with the industry's rules, he could imagine the exquisite expressions that the Academy judges would make if they saw this email. No wonder Andy had said that the situation was worse than the Nicolas Chartier incident last year. It was not only embarrassing but also a violation of regulations. Furthermore, it was occurring right on the heels of "Crisis in Three Days" being disqualified. "Buried" was now in the spotlight as well. It was like losing both the watermelon and the sesame, and on top of that, looking disheveled.

Recalling Andy's earlier outburst, Renly felt it was entirely understandable. As an observer, he could sense the tension and pressure that had precipitated, like a storm on the horizon. He couldn't fathom how it felt for Andy to be in the midst of it all, nor could he truly grasp what Focus Features was experiencing.

Upon careful thought, Renly realized that he had trouble remembering Chris's appearance and voice. He couldn't help it; there seemed to be quite a few people around him named "Chris."

Chris Sparling was a slim, young man with the appearance of a delicate scholar. He lacked any striking features, except for the neat row of white teeth that left an impression when he smiled. His eyes, brimming with ambition, always glimmered with anticipatory light. While speaking, he often used gestures, displaying confident ambition. It was clear he was filled with hope and confidence for the future.

"Buried" was merely Chris's debut as a screenwriter. Starting from being ignored, then receiving limited investment, and finally gaining recognition, it had been a triumphant journey since Toronto. Now, it even had a chance at entering the Oscars. Such remarkable achievements were beyond what anyone could have foreseen initially, enough to make one lose their sense of reality and even lose their way.

Renly could understand Chris's excitement and exhilaration. It was as if he were standing on the Emmy Awards stage for the first time, an emotion that was impossible to contain. Even though he was a reincarnated individual, he wasn't exempt from such feelings. Let alone Chris.

With this in mind, the excessive fervor, a sure victory, and the yearning for success in that email didn't seem all that surprising. However, it was overly urgent and desperate, charging forward recklessly, to the point of suffering injury.

In fact, this was a good thing. Just as the rejection of "Horrible Bosses" and "Fast 5" in Toronto's context had served as a wake-up call for Renly. In this realm of fame and fortune, every individual was a newcomer, growing each day. Youngsters had to pay a price. There were no shortcuts.

In the past life, missing the Oscar nomination for "Buried" was not surprising at all. Chris's recklessness, coupled with Lionsgate's negligence, led to a regrettable outcome due to a series of coincidences.

So, in this life, without external interferences, could "Buried" make history?

With his thoughts sorted, Renly deleted the email with a sweep of his hand. After packing up, he left the coffee shop, heading to watch "The Returnee from Hell." He silently prayed that the line for the screening wouldn't be too long.

In just half a year, Renly had participated in three film festivals: Toronto, Sundance, and Telluride. Each had its own unique characteristics and style. Even in Toronto, the enthusiasm of the local audience left a profound impression on Renly. Now, he couldn't help but feel curious about the three major European film festivals: Berlin, Cannes, and Venice.

However, compared to the distant scenes of Berlin, Cannes, and Venice, Park City was currently where Renly needed to invest all his energy. In the blink of an eye, the Sundance Film Festival had entered its fifth day. More than half of the schedule was completed, and today's highlight was none other than "Like Crazy"!

Could this small-budget, intimate romantic film, with an investment of just $250,000, capture the hearts of these discerning independent film enthusiasts?