marius:had you seen her today you might know how it feels to be struck to the bone in a moment of breathless delight - had you seen her today you might also have known how your world may be changed in just one burst of light, and what was right seems wrong, and what was wrong seems right
just imagine enjolras, after he realises he has feelings for grantaire, trying to flirt
because grantaire is aware of enjolras constantly - where he is, what he’s doing - but unaware of the possibility enjolras might actually want to talk to him, in a friendly manner, when he isn’t drunk and being cocky and irritating
so every time enjolras, who, bless his poor nerd heart, is awkward as fuck anyway, sidles up and starts talking, grantaire will entirely miss the point
‘have you been to the new coffee shop that’s just opened in town’
‘yeah I went like last week, it’s good, you should go with the guys’
I remember thinking of talking to Aaron about the subject as we started filming, and as I was about to talk to him he was interrupted by someone else, and then suddenly I understood. That was the perfect example of what the dynamic between us should be. And I realised that actually NOT talking to Aaron about it at all was the perfect way to create that subtextual thing between Grantaire and Enjolras. And actually, I didn’t talk to anyone about it. Not even Tom. I just kept it a secret and thought that if people can read into it, great, and if people don’t notice it, that’s also fine because it’s not the main focus of the student plot. I still don’t know to this day if Aaron even knows about the whole E/R relationship, but it doesn’t matter, because I don’t think Enjolras should.
George Blagden on E/R subtext in the Les Mis film