1351-1355

*Chapter 1351: Closing In Step by Step*

Good news—Dawn of the Dead had a mini box office explosion on Friday!

Absolutely fantastic news.

Despite being hit hard by media reviews, despite facing a complete promotional suppression, and despite retreating step by step under the impact of Eternal Sunshine, Dawn of the Dead had been facing significant challenges.

However, the film overcame all adversities, cutting a bloody path through difficulties, winning the love and support of the audience, and achieving box office success.

After enduring such hardship, such difficulty, such torment, the entire production team could finally let out a long sigh of relief.

Zack Snyder, in particular, was beaming with joy.

He always knew that media reviews and promotional hype were just illusions—the true mark of excellence was audience approval, and real success came from box office victories.

It had always been this way. Within niche genres, zombie films, and in the broader scope, horror films, media might scoff and nitpick, and critics' scores were often harsh. Yet, market feedback always had surprises in store, as audiences consistently proved that genre films had staying power.

The most classic example? Alfred Hitchcock.

The legendary director dedicated his life to horror, suspense, and thriller films, earning the title of a master. Yet, the Academy never fully recognized him—just like Charlie Chaplin, he was shut out by the rigid old scholars of the industry. However, history has already given them their rightful place in cinema.

Now, Zack Snyder found himself in a similar situation.

The media misunderstood him, underestimated him, twisted his work, and attacked him—but they couldn't destroy him. He would prove them all wrong with his actions—

He was a master. He would become a master. He would make those who mocked and belittled him look up to him from the top of the cinematic pyramid. He would cement his place in film history.

And look—the box office numbers were already proving it.

As he laid eyes on Dawn of the Dead's Friday box office figures, Zack let out a deep breath, grinning from ear to ear. He couldn't help but mock himself:

After seeing the media reviews, he had panicked, scaring himself. But now, he realized there was no need—audiences would provide the fair judgment. Eternal Sunshine? Anson Wood? Not even worth worrying about. The audience had sharp eyes; they knew the difference between fool’s gold and a true gem.

Good or bad—it was obvious at a glance. The market and time were the best measures of a film’s success.

As for critics? Just a bunch of self-righteous hypocrites, not worth the attention.

More importantly—

Audience reviews were starting to appear on IMDb.

*7.3!*

Zack was beyond satisfied. This was the correct evaluation. The critics’ 59% rating? Pure bias and discrimination against zombie films. As expected, audiences knew how to appreciate quality work.

In Zack’s opinion, Dawn of the Dead had its flaws—after all, it was his directorial debut. He would personally give it an 80. Now, seeing that audience opinions were closely aligned with his, he felt encouraged. A few differing opinions were natural—it was all part of the growth process. He was eager to continue improving.

Then, Zack sat in front of his computer and began browsing IMDb’s reviews, savoring every word of praise.

“Desperate yet romantic!”

“For a directorial debut, this is incredible!”

“Tight storytelling, solid characters—definitely deserves a thumbs-up.”

“So good! So, so good! I’m too excited to sleep!”

“Great dark humor, and the subtle exploration of human nature is spot-on.”

As he read through the comments, Zack nodded along, murmuring to himself, “This person knows what they’re talking about,” “Yes, exactly,” and “I can’t believe they caught that detail!” His expression was one of pure satisfaction.

Unfortunately, the film had only been in theaters for a day, and IMDb had fewer than 200 short reviews. He quickly finished reading them all but was still hungry for more.

So, he went back and reread a few memorable ones several times over. Then, a thought struck him—

CinemaScore!

How had he forgotten about this?

Compared to IMDb, where film enthusiasts and younger audiences gathered, CinemaScore was the real indicator of general audience reception. It was also a predictor of a film’s long-term box office potential.

So, what was Dawn of the Dead’s CinemaScore?

An A? Maybe an A-?

Wait—could it be an A+? If it was, the media would be left in complete shock. That would be hilarious.

As the thought crossed his mind, he couldn’t suppress a grin. Excitedly, he opened the CinemaScore website and immediately spotted the displayed rating.

His smile vanished.

*B?*

Wait—did he read that right?

*B?!* How was that possible? IMDb’s dedicated moviegoers gave it a 7.3—how could CinemaScore only be a B?

His chest tightened, unable to breathe for a moment. His good mood evaporated instantly.

Searching the site, he noticed that Eternal Sunshine didn’t have a CinemaScore yet. That meant it hadn’t met the minimum required responses from theatergoers, so no rating had been published yet—

Ha! That was good news.

It seemed Eternal Sunshine had a slow opening day, its box office figures lagging behind despite all the buzz and hype. It was all just noise.

Or maybe, not even noise at all.

With that thought, Zack felt slightly better.

Just then, his phone rang. He absentmindedly picked it up, but before he could even say hello, an anxious voice came through.

“Zack! Zack!”

Zack chuckled. “James, calm down. There’s no rabid dog chasing you.”

On the other end was screenwriter James Gunn, but he wasn’t in the mood for jokes. “Zack, we might have a problem.”

Zack frowned. “What?”

James hesitated before saying, “Their Friday box office is close to eight million dollars—almost the same as ours.”

Zack blinked. “Who? Who are you talking about? The Passion of the Christ?”

James replied, “No… Eternal Sunshine… Anson, Anson Wood.”

Zack burst out laughing. “What nonsense are you talking about? That’s impossible! Look at the number of theaters we have versus theirs! Be realistic. If you said Mel Gibson, sure, I’d get it—they’ve got serious momentum. But—”

James interrupted, “Zack, I’m serious. This doesn’t look good. Every major entertainment news outlet has Anson on the front page.”

Zack’s face stiffened. He suddenly fell silent, quickly hanging up the phone. He opened a news website—

Media? Media! Who? The Los Angeles Times!

As the page loaded, the first thing he saw was the promotional poster for Eternal Sunshine—Anson and Kate curled up on a couch in sweaters, leaning into each other.

*‘Eternal Sunshine’ Breaks Single-Theater Box Office Record!*

A record?

Another record?

Not long ago, Elephant had just broken the all-time single-theater box office record. How many “record-breaking” films could there be in such a short span?

Scrolling down, Zack’s heart sank—

*“…Friday single-day box office: $9.6 million… Anson Wood breaks yet another record…”*

(End of Chapter)

Chapter 1352: Entering the Grand View Garden

"Anson Wood's box office legend continues..."

"...The North American film market is going crazy for Anson Wood..."

"'Eternal Sunshine' lights up the March spring season..."

"...A dark horse emerges, rewriting history..."

"Yes, Anson Wood has done it again... and again... and again..."

"A historic moment—witness it together!"

"A complete explosion—'Eternal Sunshine' brings surprises..."

"'Eternal Sunshine'—March’s trendsetter! Miss it, and you’re out of touch..."

Boom! Boom boom boom!

The excitement was deafening.

Indeed, Dawn of the Dead saw a minor box office surge on Friday, achieving impressive revenue despite mixed media reviews. This was enough to make Universal Pictures ecstatic and to give Zack Snyder’s directorial career a solid boost. However, it was still not enough.

Everywhere you looked—headlines in entertainment sections, even front pages—you could see the name Eternal Sunshine. It was rare for a film outside the summer blockbuster season to garner such overwhelming media attention, but this one did.

And the reason? Incredibly simple—

Eternal Sunshine had ignited market enthusiasm in an astonishing way.

Moreover, it was rewriting history.

A direct comparison made it clear:

• Dawn of the Dead earned $10.8 million on Friday across 3,200 theaters.

• Eternal Sunshine earned $9.6 million on Friday across just 307 theaters.

The difference in scale was striking.

The former had over ten times the number of theaters, yet its single-day earnings were only $1.2 million higher than the latter.

Without a comparison, the numbers might not seem shocking—but side by side, the contrast was devastating.

Typically, North American box office data calculates per-theater earnings by dividing the opening weekend total by the number of venues.

This method is why Disney movies like The Lion King, which had limited showings in venues like the El Capitan Theatre, had exceptionally high per-theater numbers. The all-time record for a live-action film in this category was held by Dumbo, with $106,300 per theater.

However, for films like Dawn of the Dead and Eternal Sunshine, which were still in the middle of their opening weekend, their final per-theater averages had yet to be determined.

But the numbers unfolding in real-time were so astonishing that media outlets couldn’t resist making calculations—

How unbelievable was Eternal Sunshine's per-theater average? How could it match Dawn of the Dead with just 307 theaters?

Answer: $31,700 per theater.

History had been made.

There are two major per-theater box office record lists—one for limited releases and another for wide releases. The dividing line between them is 300 theaters.

• Less than 300 theaters = limited release category.

• More than 300 theaters = wide release category.

However, a theater count in the 300-500 range is a gray area. These films generally struggle to hit a $50,000 per-theater average, making them uncompetitive in limited release rankings. At the same time, their smaller reach makes them less of a blockbuster compared to mainstream commercial films.

Thus, most films released in 300-500 theaters tend to be independent or arthouse productions—films that aspire to wider releases but lack the promotional budget to make it happen.

Eternal Sunshine fit that mold.

But then, the unexpected happened.

With $31,700 per theater, Eternal Sunshine shattered records, surpassing the wide-release per-theater record previously held by Spider-Man.

Yes, you read that right—Anson broke his own record.

Two years earlier, Spider-Man had premiered to overwhelming success, setting multiple records, including the highest per-theater average for a wide release. It was a milestone in North American box office history.

Now, two years later, Eternal Sunshine, a small-scale release, defied expectations and became only the second film in history to surpass the $30,000 per-theater mark in a release of over 300 theaters.

Of course, this was just Friday’s data. Whether Eternal Sunshine could maintain its momentum through Saturday and Sunday remained uncertain.

But the shockwave was undeniable.

Meanwhile, Dawn of the Dead had become collateral damage once again.

Every major news outlet was focused on Eternal Sunshine. The fact that a 307-theater release could generate nearly the same revenue as a 3,200-theater competitor sent the industry into a frenzy.

Was spring truly here?

And at the heart of this media frenzy? Charlie Kaufman.

It had been said many times before—Charlie Kaufman was a creative genius whose ideas never quite aligned with mainstream audiences. His scripts were notoriously hard to follow.

As of 2004, Charlie Kaufman had written and released four films:

• Being John Malkovich – $22 million (domestic), $23 million (global)

• Human Nature – $700,000 (domestic), $15 million (global)

• Confessions of a Dangerous Mind – $16 million (domestic), $33 million (global)

• Adaptation – $22 million (domestic), $32 million (global)

His highest-grossing film had been Confessions of a Dangerous Mind, largely due to George Clooney’s directorial debut. The film premiered at the Berlin International Film Festival in 2003, where Sam Rockwell won the Silver Bear for Best Actor.

But let’s be real—Kaufman’s box office numbers were all within the same range. None of his films had truly broken out.

His reputation had mostly been built through DVD sales and rentals. While film buffs and indie fans adored his work, his films remained niche due to their bizarre and complex narratives.

But now?

In just one Friday, Eternal Sunshine had grossed nearly $10 million—

More than Kaufman’s entire domestic box office for Human Nature.

How could anyone not be shocked? How could this not be a surprise?

Even The Passion of the Christ paled in comparison to this sudden phenomenon. Every media outlet was in a frenzy.

It was like watching Grandma Liu visiting the Grand View Garden for the first time—everyone was completely overwhelmed.

And then, as the dust settled, another voice emerged:

"Wait a minute... I’ve seen this episode before!"

(End of Chapter)

*Chapter 1353: The Charisma of a Superstar*

"Eternal Sunshine of the Spotless Mind"? Charlie Kaufman?

A single-day box office nearing ten million dollars?

Is this some kind of April Fool’s joke? Because it’s not funny at all—it’s just absurd. If someone wanted to pull a prank, they should’ve at least done some research. This kind of joke lacks credibility, and any Hollywood insider could immediately see through it.

However, amid the waves of mockery and shock, a more rational voice began to emerge, pointing out a critical blind spot:

*Anson Wood.*

"I’ve seen this episode before!"

Ever since Spider-Man took the world by storm, Anson has been at the center of attention—envied, doubted, and constantly challenged.

Again and again, the same story unfolds, the same script repeats itself—so predictable, it’s like the goldfish memory of Hollywood keeps falling into the same cycle.

- Catch Me If You Can? No box office potential—until it exploded in success. But that was 100% thanks to Steven Spielberg and Tom Hanks.

- Elephant? Just another pretty-boy actor overestimating himself—until it won the Palme d’Or. But surely, the box office would flop—yet even today, its sold-out screenings remain legendary.

- The Butterfly Effect? His first attempt at producing, yet it was going head-to-head with Master and Commander—until it unexpectedly crushed the competition. But no, that was just hype and internet buzz.

One step. Then another.

One time. Then again.

A pattern had formed: skepticism, dismissal, and outright disdain—all conveniently wrapped in the label of a pretty boy actor. A shield for prejudice and bias. It was as if Hollywood refused to acknowledge Anson’s presence or give him any credit.

Because, after all, Anson was an idol. Hollywood always needs eye candy—one disappears, another rises to take their place.

Just like Marilyn Monroe.

Even though Marilyn has long since become a symbol of Hollywood’s Golden Age, a fixture in pop culture, and her films have stood the test of time, people still reduce her to just one word: sexy. Her talent as an actress, her identity as an individual—dismissed, erased.

Monroe wasn’t the first, and she won’t be the last. Hollywood has a long history of turning actors into mere symbols.

Men and women alike.

And now, it was Anson Wood’s turn.

No matter how hard he worked, would it ever be enough? Could he break free from the same chains that once shackled Marilyn Monroe?

And then, it happened again.

*Eternal Sunshine of the Spotless Mind.*

By all industry standards, this was a niche indie film. At best, it might generate some awards buzz—like Adaptation did. Box office success? Not even worth considering.

In fact, it might not even match Adaptation.

That film had Nicolas Cage, Meryl Streep, and other Academy favorites. It won Chris Cooper an Oscar for Best Supporting Actor, but even then, Charlie Kaufman himself was snubbed.

So what did Eternal Sunshine of the Spotless Mind have?

Anson Wood?

What a joke. Ha-ha. Very funny. Now please stop talking.

And yet—

On Friday, Eternal Sunshine of the Spotless Mind grossed $9.6 million from just 307 theaters, setting a new per-theater record for a wide release.

How could this be explained?

Was it because of Charlie Kaufman? Michel Gondry? Kate Winslet?

Or maybe it was just Focus Features' marketing strategy?

No. None of the above.

There was no point in denying it anymore. The elephant in the room was impossible to ignore. How much longer could Hollywood pretend?

Had they already forgotten what happened just three months ago, when The Butterfly Effect was about to be released?

Back then, industry experts were confident it wouldn't do well. They claimed Anson hadn’t yet earned his place in the $20 million club—Eternal Sunshine of the Spotless Mind or Spider-Man 2 would be his true test.

Then The Butterfly Effect proved them all wrong.

And now, the long-awaited Eternal Sunshine of the Spotless Mind had arrived—and shattered expectations again. Yet they still wanted to pretend it didn’t happen?

Or was it that the Academy’s old, white-haired scholars were just too old, struggling with Alzheimer’s?

No worries—if those arrogant Hollywood elites refused to acknowledge it, the audience would.

And box office numbers don’t lie.

After the buzz of Thursday’s preview screenings and Friday’s explosive premiere, word-of-mouth was spreading like wildfire across major cities.

Even Focus Features’ marketing strategy played a role:

No need to rush. No need to follow the hype. Eternal Sunshine of the Spotless Mind was not a mainstream rom-com. On the contrary, it was artsy, thought-provoking, complex, and deeply unique.

In fact, it wasn’t even fair to call it a romance film.

This was a movie with a niche appeal. It had a certain viewing threshold—casual moviegoers might not enjoy it. Wasting money on a ticket was one thing, but leaving the theater confused and frustrated? That was a bigger problem.

No one should watch a movie just because of the hype.

So then, who should watch it?

True cinephiles. Those who seek meaning in film, art, love, and life itself. Those who ponder the essence of memory, time, and existence. For them, Eternal Sunshine of the Spotless Mind would be the most unforgettable movie experience of the year.

And interestingly, some fans began to focus entirely on Anson—but this time, not for his looks.

This time, they were drawn to his taste.

From the post-screening Q&A, to the themes explored in his films, some fans started believing that Anson wasn’t just another actor—he was someone who truly appreciated cinema and reflected deeply on life.

To them, The Butterfly Effect and Eternal Sunshine of the Spotless Mind could be seen as a "Time Duology"—even though the films had no direct connection, and Anson himself had never mentioned them together.

But these fans believed both films represented Anson’s personal exploration of time and existence.

"How do we define perfection? How do we define life? How do we seek happiness and pursue joy? How do we find meaning in the vast river of time?"

These themes ran through both movies—not just as part of his roles, but as part of his philosophy as an artist.

And that was an Anson Wood no one should overlook.

*Chapter 1354: A Transformational Image*

The unexpected crossover between The Butterfly Effect and Eternal Sunshine caught everyone off guard—even Anson himself hadn’t anticipated it.

In a way, both films are thought-provoking, but they employ entirely different genres and storytelling techniques.

The Butterfly Effect challenges the mind through its five alternate endings, each revealing how a single choice at a crossroads can lead to drastically different life outcomes. Yet, the ultimate takeaway is that personality dictates fate—each individual is trapped within their own destiny.

Eternal Sunshine, on the other hand, plays with nonlinear storytelling to pose a fundamental question: If you already knew how a story would end, would you still make the same choices and repeat the past? Or would you trust yourself to correct past mistakes and avoid stepping into the same river twice?

Though they explore similar themes, The Butterfly Effect and Eternal Sunshine are like two branches stemming from the same tree, offering different interpretations, different paths, and ultimately, different answers.

And at the core of it all—

Anson Wood.

It’s difficult to say there is no connection between the two films.

Of course, this is a minority opinion. Most people still see the two films as completely independent works with no direct relation.

Yet, a small group of dedicated cinephiles remains convinced.

They argue that the media has long been probing Anson’s aesthetic sensibilities as a producer, attempting to peel away the “pretty face” label and uncover his hidden depth. Now, with concrete evidence in hand, they believe his performances prove his artistic insight and depth as an actor.

Isn’t this definitive proof that Anson is far more than just a pretty face?

So why dismiss it? Why deny it?

Agree or disagree, mainstream or niche—the emergence of this perspective and the ensuing debate only reinforce Roger Ebert’s assessment:

The Butterfly Effect. The Elephant. Eternal Sunshine.

Three distinct films, each with its own unique style, breaking conventions and oscillating between the roles of a “pretty face” and a serious actor. With these three leaps, Anson shattered the constraints of his prior image, shedding the superficial label and allowing audiences to recognize his true capabilities as an actor.

Moreover, these films strategically engaged the box office market, ensuring Anson’s commercial success and further solidifying his influence.

His ability to select roles and orchestrate his career trajectory is truly impressive. Undoubtedly, he is the most seamless and adept actor to undergo such a transformation since Tom Hanks.

Back then, Tom Hanks solidified his career through Sleepless in Seattle, Forrest Gump, and Philadelphia—a calculated three-step transformation. However, Forrest Gump aligned perfectly with its era, achieving both box office success and critical acclaim, with an element of luck involved. The strategic planning behind it was relatively minimal.

Anson, on the other hand, has demonstrated an exceptional level of foresight and intelligence.

Looking back at the past two years, it’s evident that every decision and every step he has taken has been calculated. Even his consecutive refusals to attend the Oscars were not impulsive acts.

Now, regardless of how the Academy’s old-fashioned members feel, Anson’s transformation as an actor is complete—without giving them any chance for retaliation.

A move ahead on the chessboard!

At the same time, his influence is expanding across music, fashion, talk shows, and other domains, forming an empire centered around him.

The proof is right in front of us.

Midnight Summer topped the Billboard album charts, Another Light claimed the No. 1 spot on the Billboard singles chart, and Eternal Sunshine continued to thrive in the film market.

The buzz is relentless. Audiences are flocking to theaters in droves.

Despite Focus Features repeatedly emphasizing that this film is not for everyone, and despite ardent fans warning that high expectations might lead to disappointment, nothing has stopped audiences from buying tickets.

“Anson Wood” is reason enough.

The whirlwind of media speculation, audience anticipation, and industry gossip has created an unstoppable force. Like moths to a flame, people are flooding into theaters.

And then, the unthinkable happened—

*Saturday’s Box Office Results:*

Eternal Sunshine — $8.5 million (only a 10% drop)

Dawn of the Dead — $7.9 million (a 25% drop)

*The tables have turned!*

All of North America was in collective shock.

What were they witnessing? How did this happen?

Unbelievable!

Mind-blowing!

Casual onlookers might scoff, thinking it’s an overreaction to a minor shift in box office numbers.

But if they knew that Eternal Sunshine was showing in just 307 theaters—one-tenth the number of Dawn of the Dead—and that, despite a massive Friday surge, its Saturday attendance and occupancy rate continued to rise, they would understand the magnitude of this moment.

*Speechless.*

The impact was so overwhelming that words failed to capture it.

Who can explain what’s happening?

At this rate, Eternal Sunshine is likely to surpass the highest-grossing film in Charlie Kaufman’s screenwriting career within its opening weekend—

And it’s only screening in 300 theaters.

…Wow.

Amid this frenzy, does anyone still care about Dawn of the Dead?

To be precise, it’s not even worth comparing anymore. Dawn of the Dead has become the forgotten contender. Who has the heart to continue pummeling it?

Zack Snyder: “Go ahead, trample us! We need the publicity! Don’t just ignore us and leave us to rot in silence! Any coverage is good coverage—someone, please, at least kick us while we’re down!”

Unfortunately, Dawn of the Dead has already faded from the media’s radar.

In truth, its Friday and Saturday numbers were solid, proving the enduring appeal of zombie films. Under different circumstances, its performance would have been celebrated.

But right now, all of Hollywood is focused on Eternal Sunshine:

Where will its opening weekend box office land? How many more surprises will Anson’s undefeated box office streak deliver?

By Sunday, box office analysts stopped releasing individual day figures, opting instead to unveil the full weekend rankings on Monday.

Yet, the entire film industry continued to watch intently—

The summer blockbuster season had quietly arrived early, and all because of Anson.

This is the power of true stardom.

If some people still refuse to acknowledge it, they are the ones Hollywood will discard first—not Anson.

People hoped Eternal Sunshine would be the film that marked Anson’s transformation.

Now, it has delivered.

So, is this… wish fulfillment?

(End of Chapter)

Chapter 1355: Unbelievable

March 21, 2004 – Sunday.

Everything was just as expected. Across the entire Northern Hemisphere, winter was giving way to spring, and the change in seasons was gradually altering people’s daily habits.

Typically, the weather wouldn’t fully shift until May or June. In March and April, nights were still bitterly cold. Although people were starting to feel the urge to leave their homes and spend time outside, they’d likely have to wait a little longer before acting on that impulse.

However, this year was slightly different. Thanks to media promotion and the buzz surrounding "The Passion of the Christ" and "Eternal Sunshine of the Spotless Mind," the subtle change in weather became a reason for people to head to the movies. Indeed, the market was experiencing unexpected shifts.

The crowds weren’t overwhelming, nowhere near the levels of summer, but groups of young people laughing and chatting as they made their way to theaters were slowly breaking the grip of winter. A youthful energy was in the air, and noticeably more pedestrians filled the streets.

This was true for both large chain theaters and small independent cinemas alike.

Amidst the ebb and flow of moviegoers, journalists were a surprising yet common sight. Television networks sent out live broadcast teams, print media deployed reporters, and market research firms dispatched data analysts.

Everyone knew that by Monday morning, the North American weekend box office rankings would be published, revealing the hard numbers. Yet, people couldn’t contain their curiosity and excitement. They flocked to theaters to observe firsthand, conducting on-site investigations to see how Sunday’s crowds compared to Friday and Saturday.

Would attendance be higher or lower?

These subtle clues might help predict the box office numbers and give insight into market trends.

It was hard to believe that the spring release window—historically an awkward and unremarkable time—was receiving this much attention. The market’s revival was palpable.

Hollywood insiders’ predictions were coming true.

With the Academy Awards moving up a month, a brief window opened between the Oscars and the start of the summer blockbuster season. If managed wisely, this could reveal untapped market potential. Like an opening act before a main concert, it might not achieve the explosive success of summer releases, but it could still inject new life into the spring box office.

Following the holiday season, major Hollywood studios were eagerly eyeing the spring lineup.

And it was happening.

Yet, because of Anson, things took an unexpected turn. The surge didn’t wait until April but exploded in March.

And with the chaos sparked by "The Passion of the Christ," this year’s spring movie season was thrown completely off balance, sending shockwaves through Hollywood.

According to media observations and predictions, Sunday’s audience numbers were on par with Saturday’s, showing no significant decline and reflecting the public’s excitement.

With the remake of "Dawn of the Dead" delivering nostalgia and thrills, and "Eternal Sunshine of the Spotless Mind" offering a mind-bending journey, combined with the controversy surrounding "The Passion of the Christ," the early spring box office was far more exciting and engaging than anyone had anticipated. People seemed unfazed by the still-chilly weather and flocked to theaters.

From the bustling crowds, it was clear that "Dawn of the Dead" and "Eternal Sunshine of the Spotless Mind" were neck and neck, continuing their fierce box office battle from Friday and Saturday. The race for the top spot on the North American weekend box office chart wouldn’t be decided until the very last moment—

An absolute surprise.

A movie showing in 3,000 theaters was neck and neck with another playing in only 300 theaters. It was an unprecedented sight.

Even though "The Butterfly Effect" and "Elephant" had recently set impressive box office records, and Anson maintained his undefeated streak, this outcome was still mind-boggling—

Shock and awe.

Hollywood was well aware of Anson’s box office pull in North America, but no one realized just how powerful that draw had become.

Not even Tom Cruise, Will Smith, Harrison Ford, or other box office giants had achieved such a feat. Even Tom Hanks would find it challenging to reach this milestone. It was an unprecedented event in the history of North American cinema, capturing the industry’s full attention.

Then, the third weekend of March saw the release of the North American weekend box office rankings—

• #1 – "Eternal Sunshine of the Spotless Mind" – $23 million

• #2 – "Dawn of the Dead" – $22 million

• #3 – "The Passion of the Christ" – $19 million

Gasp!

Collective shock!

Even though people had witnessed the crowds and anticipated strong results, they were still stunned by the reality.

It was happening. It really happened.

History was made.

And it wasn’t just a new record.

"Eternal Sunshine of the Spotless Mind" earned an astonishing $74,900 per theater, effortlessly shattering the previous record set by "Spider-Man" at $31,000 per theater. It more than doubled that amount, making history not only among wide releases but also competing with the best limited releases.

Dubbed by the media as a film that "embodies both indie and commercial appeal," it created a cultural phenomenon at a scale never seen before, redefining the North American movie market and shattering all preconceived notions and industry norms.

A new era had begun.

If anyone still doubted Anson’s status as a superstar, they were now alone in that belief.

Some might argue, "It’s all thanks to Charlie Kaufman!"

But Charlie Kaufman himself refused to take credit, insisting, "This is all because of Anson."

In fact, when swarmed by reporters, this famously eccentric screenwriter did the unthinkable—he ran away.

Yes, he ran, faster than anyone imagined possible.

(End of Chapter)