1161-1165

*Chapter 1161: The Rise of a Superstar*

In essence, Hollywood still views Anson as a “pretty face.”

Despite The Butterfly Effect outperforming Master and Commander at the box office, achieving a surprise premiere success, and Anson’s first-time efforts as a producer igniting the market’s excitement, the “pretty face” label remains firmly attached to him.

For this reason, Hollywood largely believes Anson still has more to prove. Walk the Line may provide him a breakthrough to superstardom, while Eternal Sunshine of the Spotless Mind is dismissed as unable to accomplish this.

Prejudice? Discrimination? Stubbornness?

Perhaps, all of the above.

In real life, pretty faces often receive an almost imperceptible harshness, imprinted in the subconscious as people look down and criticize. They have to work ten times harder to earn just a fraction of recognition.

Johnny Depp joined the ranks of superstars with just one Pirates of the Caribbean film, and Russell Crowe, with Gladiator and A Beautiful Mind, was almost there. Despite their successes, Anson’s Catch Me If You Can holds equal box office success but earns him no such media treatment or industry respect.

This is the dilemma all “pretty faces” face.

Only a few can set aside bias, judging calmly and rationally, and see the reality behind the fog.

Take Roger Ebert, for example.

Yet even Roger couldn’t have predicted what happened next.

The fourth weekend of November 2003, North American Weekend Box Office Rankings:

1st: The Butterfly Effect, $39 million.

2nd: The Cat in the Hat, $38 million.

3rd: Gothika, $19 million.

Stunned silence, shock, amazement—

A disbelief spread, and people questioned what they were seeing. In its second weekend, The Butterfly Effect saw an unbelievably low 11% drop in box office, continuing the momentum it had generated from its release with a three-day weekend total of $39 million, holding its place at #1.

With a decent opening weekend, a second-weekend box office drop of less than 30% would be a win.

But what happened here?

Not only was it less than 30%, it was an astounding 11%.

The entire North American film market was in an uproar!

Following Elf’s 20% drop earlier in the month, this was the second time a wide-release film achieved such a feat within a month; both films were from New Line Cinema.

New Line was suddenly in the spotlight.

Comparison makes everything sharper.

Take a look at Master and Commander: after an opening weekend that fell short of expectations, its second weekend saw a 39.4% drop, pulling in only $15 million.

Things did not look good. 20th Century Fox was stunned.

Master and Commander fell to fifth place, still trailing Elf, with a cumulative two-week total under $50 million. No one saw this coming.

This made The Butterfly Effect’s second weekend performance all the more baffling, shocking Hollywood and the press alike.

With a record-breaking performance, The Butterfly Effect held off The Cat in the Hat by less than $1 million to retain the #1 spot.

Universal Pictures: speechless.

The Cat in the Hat, despite high hopes, suffered a critical disaster, with a media rating of just 19 and zero positive reviews.

Even setting The Butterfly Effect aside, The Cat in the Hat’s $38 million opening weekend box office couldn’t justify its enormous budget. It was a total flop.

Gothika fared no better, with dreadful reviews and audience ratings, unable to draw a crowd despite Halle Berry’s recent Oscar win. The $19 million debut weekend was far from impressive, though with a budget of just $40 million, Warner Bros. might still break even.

The Cat in the Hat was a different story.

But did anyone care? Very few.

All eyes were on The Butterfly Effect.

The real headline wasn’t the repeat #1 ranking; it was the cumulative box office.

In two weeks, The Butterfly Effect crossed $100 million.

Boom, boom, boom!

What did this mean?

The Princess Diaries, Spider-Man, Catch Me If You Can, The Butterfly Effect.

Every film Anson has released in North America has grossed over $100 million.

Years ago, Tom Cruise and Will Smith became members of the $20 million club by achieving five consecutive $100 million hits.

Now, Anson Wood has done the same.

Someone might argue, “What about Elephant?”

First, Elephant was never released widely in North America.

HBO never intended to release it widely, as theater distribution wasn’t its strong suit.

Second, even if Elephant never grosses $100 million, it’s irrelevant—it won the Palme d’Or at Cannes.

In other words, five hits in a row!

Even more importantly, The Butterfly Effect?

No one expected it to break the $100 million mark—a film made on a modest $10 million budget achieved a success as shocking as Spider-Man’s $600 million.

Initially, The Butterfly Effect struggled to find a distributor.

Now, it was a goldmine in Anson’s hands, bringing New Line Cinema over $30 million in net profit within just two weeks.

If Anson isn’t acknowledged as a superstar after this, that would be foolish.

Even Roger Ebert was surprised. He’d expected The Butterfly Effect to perform well, but never imagined it would generate this kind of momentum.

$100 million in two weeks?

It was crazy—absolutely crazy! The Butterfly Effect overcame critical reviews to succeed, driven by Anson’s star power.

This was a familiar scene.

A tidal wave spread across Hollywood.

It seemed there was no need to wait for Eternal Sunshine of the Spotless Mind or Walk the Line. The Butterfly Effect had already accomplished the task.

After the unexpected incident earlier this summer, the North American market responded emphatically, witnessing Anson’s growing influence, propelling The Butterfly Effect to box office success.

Hollywood was stunned. No one foresaw this, but for the second consecutive year, Anson dominated the holiday season, disrupting the market and cementing his superstar status.

(End of Chapter)

Chapter 1162: Seamless Transition 

"Variety Show": Knock knock, HBO, are you there? Are you planning to release Elephant in theaters or not? 

The reasoning couldn’t be simpler. 

Initially, Elephant was just a made-for-TV movie slated for HBO’s broadcast. But now, everything has changed drastically, and the situation is entirely different.  

The film won the Palme d’Or, making it a strong contender in this year’s awards season. Furthermore, thanks to Anson’s rising fame, many audience members would likely pay to see it. After all, who wouldn’t be curious about how a so-called “pretty face” performs in an experimental art film?  

The breakout success of The Butterfly Effect had already revealed Anson’s charisma, proving that he’s not just a “decorative actor” but someone capable of delivering a solid performance.  

So, what about Elephant?  

With all this anticipation and curiosity, the film’s market potential has transformed dramatically.  

So, what’s HBO’s take on this? 

As a cable network, HBO doesn’t need to worry about ratings because its revenue doesn’t come from ad sponsors but from paid subscriptions. All it cares about is keeping its subscribers happy by consistently delivering quality content. This has been their winning formula for sustainable growth.  

In simple terms, HBO doesn’t care if Elephant makes money or not.  

Moreover, with a production budget of only $3 million, Elephant is a tiny investment for HBO, especially considering they poured $100 million into making Band of Brothers.  

And as for awards? HBO’s battlefield is the Emmys, not the Oscars. Awards season doesn’t concern them much.  

After Cannes ended, HBO remained tight-lipped about whether Elephant would be released in theaters. There was no pre-release publicity either.  

However, the media and movie fans have been keeping a close eye on them.  

Now, with The Butterfly Effect becoming a box-office hit, the media couldn’t stay quiet anymore.  

After last year’s double-feature success, Anson had been in work mode non-stop this year without any new releases. Over the summer, his spotlight was entirely stolen by Johnny Depp, with fans only catching glimpses of Anson’s influence on the North American market through the hype surrounding Spider-Man 2 and its on-set mishaps.  

Until now.  

The media firmly believed that HBO shouldn’t miss this opportunity.  

HBO agreed—silently, calmly, and without any fanfare, they dropped a bombshell.  

Elephant would begin limited theatrical release in independent art cinemas starting December 26.  

Buzz, buzz, buzz.  

The North American market erupted in celebration!  

Finally! This year’s Palme d’Or winner would soon be available for North American audiences.  

And, for the first time in his career, Anson’s role that finally breaks free from the “pretty face” label would be revealed to the public.  

This was great news from any angle! Amidst the cheers and party buzz, discussions about Anson continued to dominate headlines.  

Then came Thanksgiving.  

In the U.S., Thanksgiving falls on the last Thursday of November, making it a four-day weekend from Thursday to Sunday. Movies typically release on the Wednesday before Thanksgiving to take advantage of the extended five-day weekend.  

This year, Disney claimed the Thanksgiving box office with The Haunted Mansion, starring comedy superstar Eddie Murphy.  

Like last week’s The Grudge, The Haunted Mansion aimed to conquer the holiday by offering a family-friendly spooky comedy. With a $100 million production budget, Disney targeted the family audience market.  

It was a risky move, no doubt. But considering the previous year’s success of Harry Potter and the Prisoner of Azkaban during Thanksgiving, studios had gained confidence in holiday horror. The success of The Butterfly Effect further reinforced this strategy.  

Disney was confident in Eddie Murphy’s box-office draw— 

And for good reason.  

Over the past 15 years, the only comedy megastar to rival Jim Carrey has been Eddie Murphy. During a family-centric holiday like Thanksgiving, Murphy’s appeal to family audiences was undeniable.  

Yet, just as this year’s unconventional release strategies disrupted the norm, Thanksgiving dinner conversations also took an unexpected turn.  

The focus of discussion? The Butterfly Effect.  

By Thanksgiving, the film had been in theaters for three weeks. Normally, box-office momentum would start to wane. However, this also meant most interested audiences had already seen the movie, so spoilers weren’t an issue anymore.  

Inevitably, The Butterfly Effect became a hot topic at Thanksgiving dinner tables.  

Thanksgiving in the U.S. is a holiday where extended families gather, unlike Christmas, which is more about smaller family units. Consequently, Thanksgiving is the peak time for food consumption, traffic congestion, TV ratings—and family arguments.  

“How’s work? What’s your income like? Are you married yet? Seeing anyone? Planning on having kids? Still single at your age? Aren’t you afraid of dying alone?”  

On and on it goes.  

Because of this, The Butterfly Effect’s “restart your life” premise resonated perfectly with Thanksgiving debates. Some imagined going back in time to change their lives, others argued over which of the film’s five endings was superior.  

Some dismissed the film as childish, others explained chaos theory, some criticized it for being too focused on personal drama, and some fantasized about using a diary to travel back and invest in stocks.  

And then there were the spoilers—plenty of them.  

Thanksgiving brought all kinds of characters together, and The Butterfly Effect acted as a mirror reflecting their diverse views and reactions, making it a hot topic at many dinner tables.  

Even New Line Cinema likely hadn’t anticipated how perfectly The Butterfly Effect would align with Thanksgiving, unexpectedly igniting holiday discussions.  

By this point, if you hadn’t seen the film, you risked being left out of the conversation— 

No one wanted to appear clueless at the Thanksgiving table.  

As a result, crowds once again flocked to theaters.  

And then, things got interesting.  

Wednesday: The Haunted Mansion dominates the box office. 

Thursday: Still The Haunted Mansion.  

Disney was thrilled—everything was going as planned. Eddie Murphy’s star power was reaffirmed, and the spooky comedy seemed poised to rule Thanksgiving.  

Friday: The Butterfly Effect takes the top spot.  

Saturday: The Butterfly Effect stays on top.  

Sunday: The Butterfly Effect reigns again.  

Suddenly, Disney’s smiles faded.  

What was happening this Thanksgiving?!  

(End of Chapter) 

Chapter 1163: Highlighted by the Competition

*"‘The Butterfly Effect’ emerges as a dark horse during Thanksgiving, continuing its box office dominance."*

*"Russell Crowe, Will Ferrell, and now Eddie Murphy—Anson Wood continues to dominate the North American weekend box office charts."*

*"‘The Butterfly Effect’ reigns supreme, clinching its third consecutive weekend at the top of the North American box office!"*

*"The holiday season frenzy persists as blockbuster flops continue to pile up."*

*"Three weeks in a row! A $100 million blockbuster vs. a $10 million indie—this time, the underdog triumphs!"*

*"Anson Wood pulls off the impossible, clinching a three-week streak of box office miracles."*

*"‘The Haunted Mansion’ flops as Disney faces severe marketing and positioning issues."*

*"For the second year in a row, Anson Wood delivers a holiday-season box office miracle."*

---

*Explosive! Explosive! Explosive!*

The media is in collective frenzy—no exceptions.

Last year, Catch Me If You Can turned the holiday season upside down, already a major headline. But given the clout of Steven Spielberg and Tom Hanks, the impact was tempered by their star power.

This year, The Butterfly Effect defied all odds and silenced the skeptics with an incredible box office performance, forcing every media outlet into a state of delirium.

And—look at the competition The Butterfly Effect faced over the past three weeks:

- Master and Commander: The Far Side of the World ($150M budget)

- The Cat in the Hat ($109M budget)

- The Haunted Mansion ($100M budget)

Each one a major production, backed by aggressive holiday-season marketing campaigns and aiming to dominate the box office.

The result? Utter annihilation.

Not only did they lose, but they were utterly outclassed by a modestly budgeted $10M indie film.

Such a spectacle is undoubtedly the biggest surprise of the year. For most films, this kind of success would mean overnight stardom. And yet, the man at the helm? Anson Wood.

The media stormed in.

Relentless, overwhelming, and everywhere—a maelstrom of coverage erupted around The Butterfly Effect.  

---

Truth be told, the film's momentum had slightly slowed down. By its third week, its limitations—especially its polarizing reviews—were beginning to show.

Repeat audiences, enticed by the promise of multiple endings, began to lose interest. Casual viewers lured in by curiosity complained that the movie didn’t live up to its hype, with its soap opera-like melodrama turning them off.

The backlash from mixed reviews was slowly spreading, clearly affecting the film’s growth.

*And yet—*

It thrived *thanks to weak competition.*

The other releases simply failed to deliver:

- Outdated marketing strategies crumbled under The Butterfly Effect’s relentless campaigns.

- The films themselves were underwhelming.

Even as The Butterfly Effect faced criticism, its competition fared no better. None of them sparked interest or delivered quality; the box office was bereft of strong challengers.

Under these circumstances, Thanksgiving weekend saw The Butterfly Effect reigning supreme yet again.

---

All signs pointed to this outcome.

Disney’s The Haunted Mansion launched its wide release on Wednesday, accompanied by a full-blown marketing blitz. Eddie Murphy appeared everywhere to promote the film.

The stakes were high—Murphy’s career had been in decline, and media speculation about his fading relevance was rampant. He desperately needed this film to avoid being labeled “washed-up,” which could spell the end of his Hollywood career.

However, The Haunted Mansion was critically panned, with a dismal Metascore of 34. Despite Disney’s hopes that aggressive promotion would counteract the poor reviews, the film stumbled out of the gate.

Its opening-day box office was a meager $4M.

Disney clung to optimism, hoping Thanksgiving would bolster its performance. And indeed, on Thursday, the film's earnings ticked up slightly to $5M, buoyed by holiday audiences.

Friday brought a glimmer of hope: with post-Thanksgiving crowds flooding theaters, The Haunted Mansion earned $10M in a single day. Disney celebrated, and Murphy’s spirits soared.

Yet their joy was short-lived.

By Friday evening, The Butterfly Effect had regained the top spot, outpacing The Haunted Mansion.  

Saturday brought an even harsher blow: The Cat in the Hat, another poorly reviewed film, outperformed The Haunted Mansion thanks to its appeal with family audiences. This highlighted The Haunted Mansion's inability to sustain interest.

---

And so, the final weekend of November ended with The Butterfly Effect firmly in the spotlight:

*Thanksgiving Weekend Box Office Results:*

- The Butterfly Effect took in $30M, a modest 24% drop from the previous weekend, securing its third consecutive #1 finish.

- With a cumulative total approaching $150M, the film's dominance in the holiday season remains unshaken.

*A miracle in motion.*

Chapter 1164: A Perfect Finale  

Thanksgiving weekend in 2003 was an eventful time for the North American box office, with a lineup that kept audiences and analysts on their toes.  

• The Butterfly Effect – $30 million  

• The Cat in the Hat – $24.4 million  

• The Haunted Mansion – $24.2 million 

The results were astonishing, sparking countless discussions about where to focus attention first.  

• Was it the third consecutive weekend at #1 for The Butterfly Effect? Its weekend gross remained over $30 million, with a shockingly small drop-off. The film’s dominance highlighted how lackluster its competition was, making Anson Wood’s talent shine even brighter.  

• Or perhaps the razor-thin margin between The Cat in the Hat and The Haunted Mansion? Should people marvel at the former’s survival or the latter’s underwhelming performance?  

• Meanwhile, Master and Commander continued to underperform, falling behind both Elf and The Haunted Mansion. Its weekend gross slid to $10 million, with a cumulative total of $66 million, leaving Russell Crowe's hopes for joining the $200-million club in limbo. 

A Holiday Season of Chaos 

This holiday season was marked by chaotic experimentation, with studios scrambling to rewrite the rules. High-budget films were thrown into the mix without clear strategy, aiming to find new ways to capitalize on the lucrative period.  

Unexpectedly, New Line Cinema emerged as the season’s biggest winner, with Elf and The Butterfly Effect standing out as major dark horses.  

Anson Wood’s meteoric rise became another focal point. Following last year’s success with Catch Me If You Can, Wood returned with The Butterfly Effect, a film with a modest $10 million budget that disrupted the entire season yet again.  

Enter The Last Samurai 

The following week, Warner Bros. released its ambitious The Last Samurai starring Tom Cruise, a $140-million epic positioned to dominate both the box office and awards season. Warner Bros., which also had The Matrix Revolutions and Mystic River in its holiday lineup, aimed to maintain its edge despite lacking a Harry Potter release this year.  

However, The Last Samurai fell short of expectations.  

Though it ended The Butterfly Effect’s three-week reign at the top and claimed the #1 spot with $24 million, its opening weekend gross barely surpassed The Haunted Mansion’s previous performance. The disappointment was palpable, especially in comparison to the underwhelming Master and Commander.  

Analysts began reevaluating their initial harshness toward Master and Commander. It wasn’t that the film was particularly weak—it was simply outshone by The Butterfly Effect’s extraordinary success.  

A Historic Run 

Despite relinquishing its #1 spot, The Butterfly Effect continued to perform remarkably well, leveraging its strong word-of-mouth and lack of serious competition. It remained a top-three contender for weeks.  

In a surprising twist, the film stayed in theaters for an incredible 24 weeks—a full six months—only ending its run as the summer blockbusters of the following year began to roll out.  

When the dust settled, The Butterfly Effect had grossed $230 million in North America.  

To put this into perspective: The Lord of the Rings: The Return of the King, released after The Butterfly Effect, closed its North American run with $249 million.  

An Unprecedented Achievement 

A $10-million production achieving over $230 million in box office revenue stunned Hollywood. Analysts calculated that The Butterfly Effect alone brought New Line Cinema over $100 million in profit.  

It was a defining moment, not just for 2003 but for the entire 2000s. The film became a textbook example of how to succeed with minimal resources—a refreshing break from the dominance of blockbuster franchises.  

Even industry insiders were left baffled:  

• Master and Commander flopped.  

• The Last Samurai underperformed.  

• Big-budget projects couldn’t find footing. 

And yet, The Butterfly Effect thrived. The only explanation? Anson Wood.  

As the dust settled, one thing was clear: The Butterfly Effect had rewritten the rules, delivering a perfect finale for the holiday season and cementing its place in cinema history.  

(End of Chapter) 

*Chapter 1165: More Than That*

The “butterfly effect” exploded.

It became a full-blown sensation, taking the world by storm.

A $10 million investment yielding over ten times the return—who could say no to such a project?

Directors and co-writers Eric Bress and J. Mackye Gruber became overnight sensations!

Even though the script for The Butterfly Effect faced harsh criticism—being called childish and stupid by critics and netizens alike, with insults flying thick and fast—did the producers or investors care?

No, not at all.

Genre films have only one mission: make money. As long as they’re profitable, they’re a success. If they can achieve tenfold profits, nothing else matters.

Suddenly, all of Hollywood was in a frenzy.

Eric and Mackye became the hottest screenwriters in town overnight.

Everyone was clamoring to know:

“Do you have any other projects in the pipeline?”

“Is there a sequel to The Butterfly Effect?”

“What are your next plans?”

From obscurity to the spotlight, Eric and Mackye were thrust into the limelight, finally tasting the sweet rewards of fame and fortune.

Dizzying! Whirlwind-like!

However, the smart ones knew the real credit for The Butterfly Effect belonged to Anson.

That was the best explanation—possibly the only explanation.

Astute Hollywood insiders quickly zeroed in on the key point:

Anson starred in The Butterfly Effect without taking a single cent in salary, cutting production costs and opting instead for a 10% share of the box office.

At the time, everyone thought New Line Cinema had struck gold—even New Line itself believed they had scored a bargain, getting Anson to work for next to nothing.

Now?

With The Butterfly Effect, Anson earned $23 million in box office bonuses. What seemed like a risky gamble turned out to be one of the smartest decisions in Hollywood history, showcasing his foresight and decisiveness as a producer.

Looking back to early 2003, Hollywood’s major studios were debating and evaluating whether Anson, who had risen to prominence with Spider-Man and Catch Me If You Can, could enter the exclusive $20 million club.

Even Sony Pictures and Columbia weren’t exceptions.

The major studios were busy holding each other in check, unwilling to take the first step, quietly trying to stifle Anson’s rise.

In the end, they became a laughingstock.

Anson didn’t care about the studios’ maneuvers. First, he decisively signed on for Eternal Sunshine of the Spotless Mind, showing no interest in playing the salary negotiation game. Then, he skillfully renewed his contract for Spider-Man 2, navigating it with a masterful balance of tact and restraint, never succumbing to greed.

This composure and grace are qualities few possess in the dog-eat-dog world of showbiz.

Look at Russell Crowe for comparison.

Then came the bombshell of The Butterfly Effect—

The $20 million club? Anson couldn’t care less. He effortlessly pocketed $23 million without needing to haggle with the industry’s top-tier power brokers.

Suddenly, the studios were embarrassed.

Anson now had four consecutive box office hits under his belt—not just mild successes but outright blockbusters. He effortlessly raked in profits while his personal earnings overflowed.

In 2003, the $20 million club represented the cream of the crop. Every actor scrambled to join, and the battle between studios and agencies over this benchmark became a game of chess.

While Hollywood’s studios were squabbling over minor details, fiercely guarding the gates of the $20 million club, Anson broke free from the constraints, racing ahead like a lone arrow, leaving the club in the dust.

So, what were the studios supposed to do?

Condemn Anson for breaking industry rules?

Clearly not. Every one of his contracts was legitimate and approved by industry norms.

Moreover, Anson wasn’t even interested in playing by Hollywood’s usual rules—

Eternal Sunshine of the Spotless Mind. Walk the Line.  

Take a look at his next two projects. Anson wasn’t concerned about hitting the $20 million mark. He was carving his career path entirely on his own terms, naturally breaking away from Hollywood’s formulas.

Initially, the studios mocked and ridiculed Anson’s “ambition.” His attempt at a career transformation seemed laughable.

Now, though, they found themselves unable to gauge Anson’s moves by conventional logic.

Whether it was collaborative projects or salary negotiations, the initiative had quietly shifted to Anson’s hands.

Suddenly, things were getting interesting.

By Hollywood’s standards, Anson wasn’t technically a member of the $20 million club since no studio had written him a check for that amount.

Yet, his income had long surpassed that threshold, making him a unique presence in all of Hollywood.

So...what now?

Roger Ebert: “I told you so.”

This was undoubtedly an outcome no one foresaw before The Butterfly Effect was released. But now the reality was clear: Anson’s popularity and influence had soared to unprecedented heights, and his box office pull had reached a new peak.

Eye candy?

Does anyone care?

Even if Anson were just a pretty face, a moneymaking one like his would have everyone scrambling to work with him, just like Leonardo DiCaprio.

What’s more, there’s still more to the story.

Let’s not forget about the overseas box office.

Thanks to Anson’s star power, The Butterfly Effect enjoyed remarkably smooth international distribution, even releasing simultaneously in multiple countries.

New Line Cinema collaborated with distributors in various countries, leaving the marketing and release plans to local teams.

These distributors weren’t foolish either. They mimicked the film’s North American strategy, even adding their creative twists, blending The Butterfly Effect into real-life narratives and sparking a global sensation.

Most importantly, with the groundwork laid by Spider-Man and Catch Me If You Can, Anson’s overseas influence was steadily growing. He was indisputably emerging as a leading figure among the new generation, showcasing top-tier star power—just like in North America.

Thanks to Anson’s charisma, The Butterfly Effect performed just as well overseas.

It crushed Master and Commander, outpaced other competing films, and emerged as the biggest winner of the holiday season.

Whether Hollywood’s insiders or studios liked it or not, the reality was undeniable: Anson’s momentum was unstoppable.

France. Germany. The UK. Japan.

Spain. Italy. Australia.

In 33 countries, The Butterfly Effect topped the weekend box office, repeating the feat in 21 of those countries and even achieving a three-week reign in 14 others.

Its performance overseas rivaled its North American success.

*(End of Chapter)*