1116-1120

*Chapter 1116: Researching the Role*

To be honest, Anson was busy and had no time to bother with distractions.

The role of Johnny Cash was undoubtedly the biggest challenge Anson had faced to date, both in terms of acting and musical performance.

Of course, this was also a major reason Anson took on the project.

If he wanted to break free from Joaquin Phoenix's iconic portrayal of Johnny Cash and infuse the character and the film with his own soul, Anson knew he needed to stay focused and start from scratch.

As for the outside chatter, Anson couldn’t care less.

Anson wasn’t in a rush or frantically trying to “become” the character. Instead, he stayed calm, slowed down, and began with the basics.

First, he carried a guitar everywhere, learning to play, getting used to it, and growing comfortable with it. Regardless of how the character would perform on screen, he had to develop a close connection with the guitar himself.

This process would take time—not just three or five days, or even a week or two.

During this time, Anson immersed himself in research. Before diving into the nuances of performance, he focused on enriching his understanding of the character’s background.

He began by studying the era Johnny Cash lived in, setting aside the individual character for a moment to understand the culture and conditions of the time. What was the world like before Cash became a country music icon?

For most films, this kind of effort might seem excessive, as such details rarely make it into the screenplay or performance.

But for a biopic, this process was crucial for the actor to internalize the character’s trajectory—just as Anson always paid close attention to developing a character’s physical appearance.

Johnny Cash was born in Arkansas in 1932.

Two key facts stood out:

1. *1932:* This was near the end of the Great Depression, an era still marked by economic downturn and societal turmoil. Poverty and hunger were the primary struggles for countless families, and the exhaustion of the era weighed heavily on everyone.

2. *Arkansas:* Located in the southern United States, Arkansas was a region dominated by mining, farming, and ranching. Its residents, largely workers and farmers, faced even harsher struggles during the Depression.

Johnny was the fourth of seven siblings. His parents were poor farmers who picked cotton, survived floods, and moved from place to place within Arkansas, searching for ways to make ends meet.

In the grand sweep of history, they were mere ants swept along by the tide. Johnny’s childhood and youth were defined by poverty, where even having enough to eat was a luxury.

As a child, Johnny suffered a deep trauma when his younger brother died in an accident. His father, consumed by grief and anger, directed much of his frustration toward Johnny.

Before he could fully grow up, World War II broke out. While the battlefields were far across the Atlantic, the war's tension and chaos permeated daily life, with emotions ranging from exhilaration to despair.

In 1950, at 18, Johnny enlisted in the Air Force. After training, he was sent to Germany and didn’t return to San Antonio until 1954.

*Oppression. Isolation. Despair.*

These were the dominant hues of Johnny’s childhood and early adulthood, leaving shadows that followed him throughout his life. He struggled with how to love others and how to accept love himself. Happiness always felt fragile, ready to shatter at the slightest touch.

Living in Arkansas, Johnny, like many Southern children, grew up with the church as an essential part of life. He remained a devout Christian for much of his life and even released several gospel albums.

After leaving the Air Force, the first thing Johnny did upon returning to San Antonio was propose to a woman he had met during training. He married young, adhering to the teachings of the church.

This faith became both a source of strength and a source of inner conflict.

For instance, Johnny grappled with his brother’s death, the unhappiness in his marriage, and his descent into alcohol and drug abuse.

On one hand, he tried to stay true to his faith, refusing to divorce his wife even though their marriage was effectively over by 1961. Despite countless affairs while on tour and repeated divorce requests from his wife, Johnny clung stubbornly to the union, much like an ostrich burying its head in the sand.

On the other hand, his faith failed to provide the answers he sought, leaving him to spiral into darkness. He fell deeply in love with June Carter, hoping to find happiness, but he hesitated to pursue it fully.

For devout believers like Johnny, divorce was a sin.

This echoes the real-life story of famed South Korean director Hong Sang-soo.

Hong’s wife, a devout Catholic, refused to divorce him even after discovering his affair with actress Kim Min-hee. She held steadfastly to her faith, clinging to her marriage vows despite its collapse.

Similarly, Johnny’s faith was both a guiding light and a set of shackles.

Was Johnny Cash perfect?

Not at all. He called himself "the biggest sinner in church." He was acutely aware of his flaws but couldn’t escape them.

In many ways, Johnny punished himself. His indulgence in alcohol and affairs started as escapism but evolved into self-torment. Over time, he allowed himself to sink deeper into the abyss.

Some burdens aren’t so easily cast aside.

(End of Chapter)

*Chapter 1117: Preliminary Work*

The contradictions and conflicts surrounding faith were undoubtedly questions that Johnny Cash wrestled with throughout his life. Such doubts and struggles are not easily cast aside, much like countless philosophical quandaries that humanity continues to explore within the realm of the spirit.

Only by understanding these elements can one fully grasp Johnny's inner turmoil and struggles—

He was a complex amalgam of contradictions.

Within him existed both justice and evil, light and darkness.

To his first wife, Vivian Liberto, Johnny Cash was a disaster. They met at an Air Force base when Vivian was just 17. They fell in love, keeping their relationship alive through letters while Johnny served in Germany. Upon his return, they married immediately.

Within a short span of five years, they had four children.

However, Johnny was constantly on tour, perpetually on the road, and seldom by Vivian's side.

Vivian was aware of the women Johnny encountered on tour. Left alone to raise four children, she came to terms with the reality that their marriage had long since ended. She was willing to let go, allowing Johnny to pursue his own happiness while freeing herself. Yet Johnny remained evasive.

Vivian’s children had little emotional connection with Johnny. She became a tool left behind, never truly understanding him, never truly possessing him, let alone reaching into the depths of his heart.

But to June Carter, Johnny was her redemption. She saw his struggles and glimpsed the vulnerability within.

The same Johnny, yet he revealed vastly different facets of himself depending on the person or circumstance.

This complexity was Johnny’s charm, a reflection of the essence of humanity, and an unparalleled challenge for any actor to capture—

Acting is more than simply portraying emotions like joy, anger, sorrow, and happiness. Behind even the simplest expressions lies a vast, intricate system.

Such is the nature of the spotlight.

As an audience seated below the stage, watching a musical performance or a movie, what we see is a polished fragment—beautiful, dazzling, and aspirational.

We project our ideals of perfection and happiness onto these images. What we perceive are the singer’s radiant three minutes on stage or the actor’s flawless portrayal on screen, constructing an irreplaceable idol or romanticized figure in our imagination.

Reality, however, often diverges from this.

In real life, these individuals carry their truths—not necessarily ugly or sordid, but undeniably different from their public image under the spotlight.

Johnny Cash may have been an exceptional singer and a courageous advocate for the impoverished and oppressed as "The Man in Black," but he was far from perfect.

In front of Vivian, June Carter, his children, or his parents, this legendary superstar displayed facets of himself typical or atypical of any ordinary person.

This complexity, subtly embodied in Johnny Cash, presents the ultimate challenge for an actor.

Edgar and Anson had previously discussed the idea of avoiding biographical films about individuals still alive, as such projects often shy away from darkness and struggles, instead becoming glorified tributes to the protagonist.

Walk the Line, the screenplay, was developed with input from Johnny Cash and June Carter themselves, inevitably facing this dilemma.

To an extent, Edgar wasn’t wrong.

Walk the Line does celebrate Johnny Cash, especially his love story with June Carter.

The script largely overlooks Vivian’s presence and portrays June as Johnny’s savior, redeeming the wayward soul through love.

In real life, this relationship was likely far more nuanced. But in the screenplay, it becomes a symbol of happiness and romance.

Nonetheless, the screenplay deserves credit for not shying away from Johnny’s struggles.

As Johnny himself wryly observed, the screenplay showcases his darkness and complexities, allowing audiences to see his wounds and the demons lurking within his soul.

This takes courage.

Viewed from another angle, the screenplay is but a small aperture offering a glimpse into the intricate duality of Johnny as both an ordinary man and a legendary star.

For Anson, the task is not to judge Johnny’s complexity, nor to critique his life, but to trace the roots of his turmoil.

Only by experiencing the pain can one understand the origins of the darkness.

And only by enduring the anguish can one comprehend the struggle behind the phrase, “I’ve learned all the life lessons but still cannot live well.”

Thus, Anson was in no rush to dive deep into the character. Instead, he picked up a guitar and embarked on a journey to Arkansas—

After all, there was plenty of time.

The pre-production for Walk the Line required careful preparation.

For a long time, the two Jameses behind the project had faced setbacks and uncertainty, hesitant to begin pre-production in earnest. It wasn’t until Anson officially signed on and secured funding that the crew began to operate at full capacity.

Finding suitable filming locations, coordinating schedules, and crafting authentic period sets and costumes were all time-consuming tasks. If the directors insisted on using only genuine equipment from the 1950s and 1960s, pre-production could take even longer.

Although the production was now running smoothly, no clear filming dates had been set yet, requiring patience from everyone involved.

While the production team handled their preparations, the actors had their own tasks—

Reese had also enrolled in guitar and vocal lessons, receiving professional training that required more than a few weeks to bear fruit.

Meanwhile, Anson carried his guitar and embarked on a road trip.

Not just to Arkansas, but also to San Antonio and Memphis—where Johnny and Vivian moved after marrying and where his singing career began.

Wandering the open road.

Earlier this year, during a European tour, Anson and Miles mostly traveled by train, occasionally hitching rides, experiencing the carefree joy of a post-graduation trip.

This time, driving through North America, Anson traversed its heartland. Away from the coastal cities, the vast, sparsely populated natural landscapes and rural scenery unfolded before his eyes.

What started as preparation for a role turned into an unexpected journey of escape.

(End of Chapter)  

Chapter 1118: The Eyes of Judgment

This year, Anson experienced a whirlwind of highs and lows—standing on the top podium at the Cannes Film Festival, basking in glory, then struggling in the darkness after an unexpected injury. He enjoyed the surprise success of Eternal Sunshine of the Spotless Mind but also faced the complex disappointment of missing out on The Princess Diaries 2. 

A single year felt unusually long.

Yet, Anson never truly had time to rest, to let his mind settle and process the ups and downs. Even this road trip, intended as work to prepare for his next role, unexpectedly became an escape.

Finally, Anson found peace. The noise faded away, his nerves relaxed, and he allowed himself to drift into the serenity of doing nothing.

Outside the car window, the scenery rolled past in a constant blur of vibrant colors, which eventually morphed into a gentle, flowing river at the edge of his vision.

Sometimes barren, raw, and desolate; other times grand, majestic, and picturesque.

Faced with nature’s vastness, humanity’s smallness becomes evident. Yet beyond daily struggles, there is an expansive world waiting to be explored.

At times, Anson couldn’t help but think of Vivian. Stuck in Memphis raising four children, her life was confined to a small box. Meanwhile, Johnny embarked on road trips, tours, basked in lights, applause, and cheers. Were these starkly contrasting paths one of the reasons they drifted apart?

As public figures, Johnny Cash and June Carter had ample opportunities to share their stories with the media. Johnny even published two autobiographies. Vivian, however, was an ordinary person whose voice was ignored and forgotten.

The same applied to the making of Walk the Line. During its development, neither Giecher nor Mangold ever considered asking for Vivian’s perspective.

Anson vaguely remembered that in his previous life, Walk the Line had moved countless viewers to tears over Johnny and June’s love story. But this left Johnny and Vivian’s children deeply saddened. It eventually prompted Vivian to break her long silence and publish her memoir, telling her version of the story for the world to judge.

Unfortunately, Anson never read that memoir.

He once considered privately reaching out to Vivian but ultimately decided against it.

Balancing the perspectives of Johnny, Vivian, and June to tell an objective version of Johnny Cash’s story would mean rewriting the entire script. That posed one problem. Attempting to include everything might mean achieving nothing—a second problem.

At its core, Anson understood the challenges of screenwriting all too well.

Even though Vivian played a secondary role in Johnny’s story, Anson couldn’t stop wondering: every event we experience and every person we meet shapes who we are today. So, what role did Vivian play in Johnny’s life? Was her influence more positive or negative?

At last, Anson understood why people are so drawn to road trips.

A road trip is about exploring the land under your feet inch by inch, experiencing and witnessing it firsthand—something you can’t capture by flying or taking the train from city to city.

At the same time, when the world is reduced to just you and nature, it finally quiets down. You can hear your own voice and have conversations with yourself. In the hustle of modern life, where even eating and drinking have become survival instincts, everyone needs such moments.

Moments to slow down, waste time, and find breathing space—these are luxuries modern life often denies us.

Initially, Anson planned to trace Johnny’s footsteps and explore the era he lived in. Unexpectedly, it became a journey of personal discovery.

A small but meaningful reward.

Sadly, the journey couldn’t last. After just three weeks, Anson had to turn back to Los Angeles.

The Butterfly Effect was premiering.

But Anson wasn’t worried. Once the promotional tour was over, he could return to the road. A car and a guitar—what more did he need?

For now, he had to refocus on his primary work.

---

Edgar was both nervous and excited.

After waiting eagerly, Anson’s debut as a producer was finally about to be unveiled.

It wasn’t just Edgar; countless eyes across Hollywood were watching.

In May, Elephant won the Palme d’Or at Cannes, radically altering Anson’s career and challenging his image as just a pretty face.

Suddenly, industry insiders and outsiders alike were curious: was this a fluke? Or did Anson truly have an eye for talent and artistic taste?

Immediately, all attention turned to The Butterfly Effect. As Anson’s first production, it would reveal whether Elephant was a lucky accident or a sign of his creative vision.

The film’s genre, theme, box office potential, reviews, and quality—every aspect was under scrutiny.

To be fair, one project’s success or failure isn’t enough to judge a producer’s ability. But in Anson’s unique case, Hollywood would glean plenty from this.

And let’s not forget Walk the Line.

Anson had just signed on to the film, reportedly as a producer as well. Within a single year, he was making bold strides in his acting career, taking on producing roles and aiming for awards season. His ambition was clear for all to see.

These factors made The Butterfly Effect a hot topic from the moment its release date was announced.

However, Edgar was unhappy with New Line Cinema’s scheduling decision.

To Edgar, New Line’s strategy seemed half-baked. They scheduled The Butterfly Effect for the third week of November—a risky choice.

Nestled between Halloween and Thanksgiving, the date was meant to highlight the film’s sci-fi and family elements, hoping to capture audience attention and generate strong box office returns.

On paper, it made sense. The slot was better than the crowded Christmas season or the quiet fall, and Anson’s star power might help it stand out.

But Edgar believed this surface-level strategy was foolish. He felt The Butterfly Effect was being thrown into a lion’s den.

A release date surrounded by competition.

(Chapter End)

*Chapter 1119: Surrounded on All Sides*

Everyone says the fall movie season is a lull, with September and October being the slowest months in the box office calendar. That’s a fact and an accepted truth in Hollywood.

However, movie theaters never close. Even during the year’s slowest periods, cinemas still offer a variety of films.

And let’s not forget that Halloween arrives in the last week of October, bringing both the thrill of horror films and the warmth of holiday-themed movies. This means the fall lull is typically confined to September; once October rolls around, theaters often regain their buzz.

This year is no exception—

In the second week of October, Kill Bill was released, Quentin Tarantino’s first film in six years.

In the third week, The Texas Chainsaw Massacre, a remake of the 1974 classic horror movie, premiered. Jessica Biel took the lead role for the first time, with Chris Evans making an appearance at the premiere to cheer her on, sparking a wave of discussion.

In the fourth week, Scary Movie 3 hit theaters. As a parody franchise, the fact that it reached a third installment is proof of its immense popularity.

Crowded.

It’s a jam-packed lineup! Despite being primarily mid-to-low-budget thrillers or horror films, the sheer volume of similar genres and themes has only heightened the competition.

After all, the market for horror films is only so big. With an overflow of such movies, there’s a real risk of mutual destruction at the box office.

A small consolation is that the first week of November, Halloween weekend, has no notable releases. Even New Line Cinema has backed off, delaying the release of The Butterfly Effect.

Why?

1. On Halloween weekend, young people are out partying, and families are occupied with trick-or-treating, leaving little room for moviegoing.

2. The weekend after Halloween has a "shark."

On the second weekend of November, The Matrix Revolutions—the final chapter of the series—debuts. After The Matrix Reloaded set the stage during the summer, fans have been eagerly awaiting the grand finale. It’s a no-brainer: die-hard fans will flood theaters for this highly anticipated conclusion.

This franchise is one of the few that can rival Harry Potter and The Lord of the Rings, with arguably even greater cultural impact.

But there’s one exception—

New Line Cinema is releasing Elf.

Edgar shrugged: “I told you, New Line isn’t reliable.”

Elf, a $33 million production, is a mid-budget holiday comedy starring “Frat Pack” member Will Ferrell and directed by actor-turned-director Jon Favreau (who would later direct The Avengers).

New Line’s marketing team reasons that The Matrix Revolutions is a sci-fi film, while Elf targets the Christmas market. The two are vastly different, so releasing them together might allow Elf to ride the wave of increased theater attendance and gain some exposure.

This strategy, however, leaves many wondering whether it’s brilliant or foolish.

Instead of taking advantage of the quiet first week of November, Elf is set to directly compete with The Matrix Revolutions. This decision has sparked widespread confusion.

By the time The Matrix Revolutions lands, the fall-to-holiday box office transition will be in full swing, and competition will become brutal.

On the third weekend of November, Master and Commander: The Far Side of the World premieres. Starring Russell Crowe, who has reached new career heights with A Beautiful Mind and Gladiator, this $150 million epic is his next step toward building a reputation akin to Tom Hanks’. Directed by Peter Weir (Dead Poets Society, The Truman Show), the film has “Oscar-caliber” written all over it.

In the fourth weekend of November, The Cat in the Hat, a $109 million family film, aims for Thanksgiving audiences with high confidence.

In the fifth weekend, The Haunted Mansion, another holiday-themed movie, debuts. With a $90 million budget, it stands out in the typically low-cost horror genre, but its release strategy appears calculated, avoiding the crowded Halloween season in favor of Thanksgiving.

On the first weekend of December, The Last Samurai, a $140 million epic, makes its debut. Starring Tom Cruise, it’s not only a box office contender but also an awards season darling, being hailed as this year’s Gladiator.

And after that?

The Lord of the Rings: The Return of the King is ready to dominate.

One blockbuster after another. It’s as though the summer season has spilled over into the holidays, with a flurry of $100 million productions lighting up the calendar.

Why?

Blame Anson.

Last year, Warner Bros. shifted its focus from summer to the holiday season. While Harry Potter and The Lord of the Rings performed well, they didn’t meet sky-high expectations. However, Catch Me If You Can became a surprise smash, inspiring other studios to rethink their strategies.

Now, every major studio is placing bets on the holiday season, diversifying their release calendars.

As a result, the schedule is not only packed but also filled with heavy hitters.

The stakes are higher, and the competition is fiercer.

In this climate, release timing and marketing strategies require extra precision.

And yet, New Line Cinema?

Releasing Elf in the third week of November, right after The Matrix Revolutions, to face off with Master and Commander, with a long line of heavyweight contenders behind it.

Edgar: “I don’t get it.”

Acting on Anson’s behalf, Edgar sent an email to New Line asking why The Butterfly Effect wasn’t scheduled for the quiet first week of November. Even if it meant clashing with Halloween, it would be better than the chaos of the third week.

New Line responded politely:

“This year’s holiday season is chaotic. Thanks to the success of Catch Me If You Can, studios are experimenting, making the landscape unpredictable.”

In other words, it’s a mess.

Even Warner Bros. is taking risks, pitting The Matrix Revolutions against New Line’s own Elf.

“This schedule is the result of extensive professional analysis. We have faith in the film and in Anson.”

(Chapter ends.)

*Chapter 1120: A Chaotic Situation*

The release schedule was in complete disarray.

According to a source from New Line Cinema's distribution department, the disruption wasn't limited to the holiday season. Studios were also reshuffling their strategies for the fall releases in September and October.

They were experimenting—testing market reactions to the fall and holiday periods, gauging audience responses to different genres.

For instance, The Haunted Mansion landed in the Thanksgiving window, Kill Bill avoided the Halloween weekend, and the entire Halloween weekend strangely saw no major releases.

Unusual scheduling choices like these were everywhere. Ultimately, the goal was clear: major studios were trying to shake up the norms, break fixed patterns, and rewrite the rules. In this free-for-all, they hoped to emerge as the leader of the pack.

New Line Cinema, while not at the pinnacle of Hollywood’s hierarchy, still played a critical role as a Warner Bros. subsidiary.

From New Line’s perspective, all eyes were on the blockbuster players with $100-million-dollar budgets. But this holiday season, the real danger lay in the smaller contenders:

Movies like Gothika starring newly crowned Oscar winner Halle Berry, Bad Santa starring Billy Bob Thornton targeting the crime-comedy niche, and Honey, led by TV-star-turned-actress Jessica Alba.

Then there was Timeline, directed by Richard Donner of Lethal Weapon fame and starring Paul Walker, fresh off the Fast & Furious franchise.

Other mid-to-low-budget films included Elf and The Butterfly Effect.

These smaller productions abandoned traditional schedules, haphazardly slotting into windows between Halloween and Thanksgiving, creating complete chaos in the marketplace.

In response, New Line Cinema devised a strategy to carve out a niche amidst the confusion:

Elf went head-to-head with The Matrix Revolutions, while The Butterfly Effect directly competed with Master and Commander: The Far Side of the World. The idea was to use counter-programming. By riding the wave of the big-budget marketing juggernauts, these smaller films could draw attention without needing massive promotional budgets themselves.

It was a calculated risk—far more cost-effective than burning through resources to compete with mid-budget films and still risking failure.

After all, New Line’s marketing budget couldn’t compare to the top-tier studios.

For example, 20th Century Fox spent a staggering $20 million promoting Master and Commander. With stellar internal test screenings and the recent success of Pirates of the Caribbean reigniting public interest in naval battles, Fox was brimming with confidence.

Other projects had equally aggressive campaigns.

Thus, The Butterfly Effect faced stiff competition no matter where it landed. New Line's approach was simple: don’t avoid the fight—charge straight into the battlefield.

A direct confrontation?

No. Borrowing arrows with a straw boat.

New Line’s detailed and candid communication reassured Edgar, but he was still unsure how to respond.

From Edgar’s perspective, avoiding the holiday season might not be a bad idea. Perhaps the winter or even next spring?

However, upon reflection, switching to another timeframe wouldn’t necessarily guarantee better results. More importantly, New Line’s decision to target the holiday season showed their ambition and confidence in the project.

Ultimately, Edgar deferred to the professionals.

For now, the holiday season was shaping up to be unpredictable, with unconventional strategies sparking lively audience engagement.

The surprises kept coming.

Kill Bill earned $22 million on its opening weekend and had grossed $67 million so far. While slightly under expectations, Quentin Tarantino’s offbeat style made massive box office numbers unlikely.

The Texas Chainsaw Massacre earned $29 million in its opening weekend and had reached $77 million—a massive success given its modest $9.5 million budget. It cemented Jessica Biel’s rise to stardom and delivered a big win for New Line Cinema.

Scary Movie 3 brought in $49 million on its opening weekend and had already surpassed $100 million, continuing the franchise’s impressive track record.

Momentum built week after week, peaking in the second week of November.

The Matrix Revolutions opened midweek to capitalize on post-Halloween audiences. It grossed $48 million in its opening weekend and $83 million in its first five days.

The numbers were slightly below expectations.

Back in May, The Matrix Reloaded had debuted with $91 million in its opening weekend and $134 million in its first five days, becoming one of the summer’s biggest hits. Six months later, the final installment failed to surpass its predecessor’s performance.

The air was tinged with unease.

Still, considering the holiday season’s volatile lineup, the dip in The Matrix Revolutions’ box office wasn’t entirely surprising.

Surprisingly, Elf exceeded all expectations, grossing $32 million on its opening weekend and shocking the industry.

How did this happen?

Following The Texas Chainsaw Massacre, New Line Cinema had scored another win.

Despite Elf receiving mediocre reviews (a 66 average from critics), the holiday atmosphere drew family audiences to theaters, stealing viewers from The Matrix Revolutions.

Could New Line become the biggest winner of the holiday season?

Amidst this backdrop, Anson returned to Los Angeles as The Butterfly Effect prepared for its premiere.

On one hand, local media buzzed with excitement, curious to see if New Line and Anson could deliver another surprise.

On the other hand, general audiences and Anson’s fans felt anxious. The overwhelming promotional presence of The Matrix Revolutions and Master and Commander left little room for The Butterfly Effect to shine.

Worse, both Master and Commander and The Butterfly Effect scheduled their premieres for the same day—Wednesday, November 12—in Los Angeles.

A direct clash.

Who was to blame?

Outsiders accused 20th Century Fox of bullying. Insiders, however, remained neutral, unsure whether New Line deliberately provoked the conflict.

Regardless, the showdown was set.

Same day, same city, same time—how would the audience choose?

(End of Chapter)