726-730

Chapter 726: Room Service

Bathed in Anson's gaze, shame, annoyance, depression, anxiety, anger, and helplessness intertwined, hitting Annie like a punch to the nose.

She felt a little sour.

"Sorry." Annie lowered her gaze in a panic. It was all the fault of tonight's darkness; people are always more vulnerable at midnight, accidentally revealing their soft spots.

"I, uh, I'm sorry, tonight was entirely my fault."

"Recently, everything has been piling up—school, work, and... things at home. My brother... My life has been completely out of whack. I don't even know what's going on with my body."

She trailed off, vague and hesitant.

But Anson understood—

He wasn't a real twenty-year-old. The old soul inside his young body had experienced enough to understand the consequences of a body out of balance.

He could sense Annie's self-blame, and he didn't let her continue.

"This could happen to anyone."

Annie kept her eyes down, avoiding his gaze. Right now, she really didn't want to face Anson; she wished she could disappear into a hole. But she was too exhausted.

"I'm serious. This could happen to anyone."

Annie finally looked up. Words danced on her tongue, but she didn't know what to say. She only managed to whisper, "I want to take a shower."

Anson nodded gently. "You go shower. I'll head back now. Luca is still outside. I think he wants to get out of that T-shirt even more than you do."

Pfft.

Annie's lips twitched into a small smile but quickly settled down due to her weakness.

Anson stood protectively by Annie as she got up. Although he didn't directly support her, he had his arms ready around her, guiding her to the bathroom.

Annie's steps were heavy and slow, each one seemingly draining all her energy. Her frail shoulders seemed on the verge of collapsing under the weight of the night. But she gritted her teeth, stubbornly relying on her strength to move forward, step by slow step, never stopping.

Finally, they reached the bathroom.

Annie stopped and turned, finding herself facing Anson's chest.

"Hey, this is as far as you go," Annie joked with a small smile.

Anson stepped back to give her space. "Annie."

Annie looked up.

Anson asked, "Are you okay?"

For a moment, Annie was stunned, and then a smile bloomed on her face, like a night-blooming flower in the darkness.

"Yes."

Annie wanted to say more but couldn't find the words.

"Thank you, Anson."

She took a deep breath and repeated herself.

"Thank you."

All her thoughts condensed into that one sentence. She couldn't think of anything better to say.

So she smiled at Anson. "Could you close the door on your way out, or..."

"Thank you," Anson interrupted. "You've already said it more than once or twice. If you say 'thank you' too many times, it becomes 'sorry,' but you don't need to apologize."

Then, Anson turned to leave.

Annie was momentarily stunned, quickly ducking into the bathroom, swiftly opening and shutting the door to block out everything, hiding her embarrassment.

Anson had reached the door when he hesitated. He heard sounds from the bathroom—

The shower running. And muffled sobbing.

Despite covering her mouth and the interference of the water, the restrained crying was still audible.

Instinctively, Anson turned back to the room but stopped.

Since Annie didn't want to be discovered, maybe he should pretend he hadn't noticed and leave her some personal space.

Sometimes, instead of companionship, what you need is time and space alone.

After standing there for a moment, Anson finally decided not to stay. He turned, closed the door behind him, and walked toward the elevator.

Back in the car, Anson immediately noticed that Lucas had taken off his T-shirt, and there was no trace of it in the car. This piqued Anson's curiosity.

"Where's the T-shirt?"

Lucas's forehead vein twitched. "Where's Annie? Is she okay?"

Anson replied, "Luca, that was a keepsake. You didn't just throw it away, did you?"

Lucas persisted, "Are you sure Annie is alright?"

The brothers were talking at cross purposes, neither paying attention to the other.

Finally, under Anson's gaze, Lucas gave in and opened the glove compartment. There it was—the T-shirt, neatly folded.

Anson chuckled. "Oh, you even folded it. A perfect little square."

Lucas: ...

Turning his head, Anson saw Lucas flipping him the bird.

"Ha ha." Anson laughed heartily, finally returning to the topic. "Annie's fine. She just needs a hot shower and a good night's sleep."

Lucas nodded almost imperceptibly, saying no more. He started the engine, left the parking lot, and headed home.

The night grew deeper.

San Francisco wasn't Los Angeles or New York, and it certainly wasn't the city that never sleeps like Las Vegas. Even the bars had a 3 a.m. curfew. After the brief chaos, the city settled into a peaceful quiet.

Annie thought she might not sleep well, maybe even have a sleepless night, but surprisingly—

She didn't.

Exhaustion, both mental and physical, took over. Her head hit the pillow, and she fell into a deep sleep. When she woke up, it was already morning.

She had been woken by room service.

"… I didn't call for room service."

Annie looked at the hotel staff, puzzled.

The room service attendant pushed the cart into the room, explaining, "Last night, a Mr. Michael Moskovitz ordered room service for you and settled the bill in advance."

Annie: "Who?"

The attendant handed her a card from the flowers.

Annie opened it.

"Dear Mia,

Hope you had sweet dreams.

Michael."

He even signed it seriously.

Annie finally realized it was the name of Michael from "The Princess Diaries." Such an awkward and strange name; she hadn't even known Michael had a last name. Wait, Lily and Michael were siblings, so what was Lily's last name again?

Her thoughts swirled in her head.

Annie looked at the cart in front of her—

Grilled salmon, salad, onion soup, and a cup of hot milk.

As Annie pondered, the room service attendant explained again, "The hot milk was a special request. Mr. Moskovitz said that everything else was optional, but you must drink the hot milk."

Annie picked up the milk. It was warm, the heat seeping through the cup into her hand, soothing her muscles after a long night's sleep.

She took a sip.

Her whole body felt at ease, a smile creeping onto her face.

Annie tipped the attendant and, holding her milk, escorted them out. Closing the door, she tiptoed back to the cart, picked up the card, and read it again and again.

Such a simple sentence, yet it seemed to have magic, lifting her tired and heavy mood. Even the gloomy sky outside the window seemed to brighten.

Involuntarily, she turned the card over and over, glancing between the cart's food and flowers while finishing her milk.

Suddenly, she remembered something. Annie put down the card and the milk, heading to the bathroom.

She looked around, trying to recall where she had put it. Finally, she found the crumpled, graffiti-covered T-shirt near the trash can in the corner.

Sure enough, it was of poor quality. It had only been a night, and it was already starting to pill. She wondered if it would turn into a pile of fabric strips if thrown into the washing machine.

In the mirror, Annie held the T-shirt in front of her, spinning around to check it out. It didn't seem as bad as she remembered.

Chapter 727: Christmas Miracle

As time moved from 2002 to 2003, winter in the Northern Hemisphere was in full swing. Cities were blanketed with heavy snow, creating a frosty landscape, with the cold weather reaching its peak. Despite the harsh conditions, people's enthusiasm for going to the cinema to watch "Catch Me If You Can" remained undeterred.

To be accurate, the heavy snowfall did have some impact. Snowy weather made travel inconvenient, leading many to prefer staying at home. After school or work, people tended to stay warm indoors, avoiding venturing out into the snow. Not just cinemas but shopping malls, restaurants, amusement parks, cafes, and hotels experienced the inevitable winter slump.

However, for those who grew tired of staying at home and just wanted to get some fresh air, or for those looking for an alternative to TV entertainment, the warm cinema was a perfect choice. At the time, when people looked at the list of movies playing in theaters, "Catch Me If You Can" easily stood out. Over the past couple of weeks, the film had sparked a huge discussion across North America, becoming a trend everyone was talking about.

People of all ages and backgrounds were talking about it, and since it was tied to the Christmas season, it became synonymous with family leisure entertainment, making it a popular choice for many parents.

After dominating the first week of January, "Catch Me If You Can" continued to reign supreme in its second week.

This week, the newly released "Just Married" tried to replicate the success of romantic comedies during the holiday season but unfortunately failed. "Two Weeks Notice" had Sandra Bullock and Hugh Grant, while "Maid in Manhattan" had Jennifer Lopez and Ralph Fiennes, giving them a market advantage. In contrast, "Just Married," starring Ashton Kutcher and Brittany Murphy, lacked similar star power.

Moreover, it was a tough test for the marketing strategy. When 20th Century Fox was promoting "Just Married," they followed a conventional approach, failing to anticipate that "Catch Me If You Can" would emerge so dominantly. As a result, they found themselves in a difficult situation.

In the past two weeks, "Just Married" was completely overshadowed by "Catch Me If You Can" across different platforms and audiences. All discussions revolved around "Catch Me If You Can," leaving 20th Century Fox at a loss.

In fact, it wasn't just 20th Century Fox. Any other film studio would have found themselves in the same position—stunned and unable to respond quickly, letting "Catch Me If You Can" lead the way in the market.

This was a new experience that opened the eyes of Hollywood's major studios.

All that could be said was that "Just Married" had chosen the wrong release date.

Finally—

$17 million.

"Just Married" grossed this amount in its opening weekend, far less than the new releases in previous weeks. It couldn't break through, but 20th Century Fox still breathed a sigh of relief.

The reason was that the movie's production cost was controlled at only $18 million. While it remained to be seen if "Just Married" could become profitable through ticket sales, at least it hadn't completely flopped. Losing money seemed unlikely.

Phew.

20th Century Fox, amidst its challenges, didn't harbor grand ambitions and was satisfied with this box office performance. But when they saw the numbers their competitors were pulling in, it was hard not to feel envious.

Once again, attention turned to "Catch Me If You Can."

In the second week of January, which was also the movie's third weekend, "Catch Me If You Can" silenced the doubters and skeptics, confidently claiming the weekend box office title for the third consecutive time.

In three days, it grossed $35 million.

In its third week, "Catch Me If You Can" was inevitably affected by the snowstorm, and with the flash events concluding, its popularity noticeably declined. Although many hoped for another "Titanic" or "Spider-Man," reality brought expectations back to earth. With a more than 45% drop in box office revenue this week, almost a halving, it reminded people of the formidable power of winter.

However—

"Catch Me If You Can" was not "Titanic." While the latter made history through word-of-mouth and the end-of-century anxieties, the former's success was a triumph of marketing, mostly confined to urban areas without reaching a nationwide wave.

Nonetheless, topping the weekend chart with double the revenue of the second place was worth celebrating. The movie didn't continue making history, but its performance was already outstanding for a winter release.

There's no need to be overly demanding.

Most importantly, "Catch Me If You Can" crossed the $300 million mark in North America within its first three weeks.

The movie not only surpassed "The Lord of the Rings: The Two Towers," which had been out for four weeks, but also joined the ranks of Hollywood's box office giants, breaking the $300 million barrier in just three weeks. It was about to become the highest-grossing film in North America for both Steven Spielberg and Tom Hanks.

Unbelievable.

Steven Spielberg had numerous box office triumphs, with "E.T." and "Jurassic Park" both grossing over $300 million domestically. "Catch Me If You Can" became his third film to achieve this feat. These three vastly different films each marked a milestone, an unparalleled honor in film history.

Tom Hanks was no exception. This iconic Hollywood actor also had several high-grossing films, with more than five earning over $200 million. "Toy Story" and "Forrest Gump" each surpassed $300 million, marking his highest personal achievement. Now, a third film was about to be added to that list, cementing his status in the industry.

Currently, "Catch Me If You Can" is still playing in theaters and climbing to new heights. It's almost certain to become the highest-grossing film in both Spielberg's and Hanks's careers. But the emphasis isn't on the box office itself; it's that this particular film achieved such a milestone—

Unexpectedly, absolutely unexpectedly.

Even Spielberg and Hanks didn't anticipate the film's success. The two legends, who had already left their mark on cinema history, found a new career high with "Catch Me If You Can." This was the most interesting and magical aspect.

"Well, I guess this is what they call a Christmas miracle."

Tom, being Tom, made a small joke during an interview. He deliberately avoided mentioning Anson, steering clear of the topic people were most curious about, but his response brought a knowing smile to everyone.

*Chapter 728: The Real Deal Appears*

“Oh, now you understand why I still believe in Santa Claus.”

When the reporters turned their attention to Anson, this absolute superstar, who effortlessly broke the $300 million mark with two consecutive films within a year, showcased his wit and humor.

Although Anson was on vacation and had declined all interviews, including phone calls, he still responded through his agent Edgar. Yet, between the lines, it was clear that this was Anson himself speaking, not some carefully crafted official statement by his agent or PR team.

The reporters couldn’t help but admire Anson's composure, calmness, and broad-mindedness.

Following "Spider-Man," "Catch Me If You Can" achieved another great success under immense pressure, silencing all critics, skeptics, and provocateurs. It even brought extra glory to superstars Steven and Tom. Despite just turning 20, Anson maintained such a mindset, exuding the aura of a top-tier superstar from the inside out.

Impressive!

Admiration spread like wildfire.

In the second week of January 2003, the North American weekend box office rankings were released:

1st place: "Catch Me If You Can."

2nd place: "Just Married."

3rd place: "The Lord of the Rings: The Two Towers."

4th place: "Maid in Manhattan."

5th place: "About Schmidt."

A small surprise was the impressive performance of "About Schmidt," highly praised during the awards season. At least so far, it has been better received by the general public than "Gangs of New York," proving that Jack Nicholson still has it.

Additionally:

"The Two Towers," in its fourth week of release, had grossed $280 million in North America. Crossing the $300 million mark was just a matter of time, especially with international box office numbers still unaccounted for. The film, as expected, continued to succeed—though it paled slightly in comparison to "Catch Me If You Can."

Warner Bros. had hoped to get a head start during the holiday season by avoiding the summer box office rush, but DreamWorks accidentally struck gold during Christmas, offering new insights into marketing while witnessing the birth of a superstar.

In retrospect, though the holiday season didn’t unfold as anticipated, it was far from disappointing. In fact, it was more surprising and entertaining than expected. Hollywood was hit by another wave of excitement.

Clearly, this was not the end.

After "Catch Me If You Can" easily claimed its third consecutive weekend box office crown in North America, it dominated during the cold, sluggish winter, continuing its reign for two more weeks until the first week of February, when it finally relinquished the top spot. Even then, its box office momentum remained strong.

Ultimately:

"Catch Me If You Can" concluded its North American box office run with $377 million, leaving behind a series of exclamations during the holiday and winter seasons.

Unfortunately, it still fell short of breaking the $400 million barrier.

When the drop in its second-week box office returns was reported, expectations soared, with everyone hoping for another historic moment. However, the harsh reality of the winter box office proved too much to overcome. The movie’s subsequent drops exceeded expectations, and neither the stellar reviews nor the promotional efforts could fend off the onslaught of the snowstorms.

Still, despite the disappointment, no one was "let down" by these results.

With a total of $377 million, "Catch Me If You Can" surpassed "Jurassic Park" to rank among the top five in North American box office history—

For now, it's ranked fifth.

Looking at the top four—"Titanic," "Spider-Man," "Star Wars: Episode I," and "Star Wars: Episode IV"—and then at the surprise breakout "Catch Me If You Can," it’s hard not to be amazed and astonished.

Not only did "Catch Me If You Can" break into the top ten highest-grossing films of all time, but it even made it into the top five.

Unbelievable!

Who could’ve predicted this outcome when "Catch Me If You Can" was released?

No one.

Not even DreamWorks.

While the media didn’t report on this, and since DreamWorks wasn’t a publicly traded company at the time, there were no financial reports. However, rumors inside Hollywood suggest that "Catch Me If You Can" brought DreamWorks more than $200 million in profits—

And that doesn’t include DVD sales and rentals.

Without a doubt, "Catch Me If You Can" became one of the most profitable films of 2002, even earning more than "Spider-Man"—and that was the real surprise.

Over the past few years, DreamWorks had been struggling with cash flow and had consistently refused financial help from Wall Street and Silicon Valley. But this film gave them much-needed breathing room, allowing the studio to find new opportunities in its dire financial situation.

Thus, it was no surprise when Steven Spielberg couldn't stop praising Anson in interviews.

“I admit, I had my doubts. I’m not a director who easily trusts young, unknown actors. Even after Tom convinced me to cast Anson as Frank Jr., I still couldn’t fully settle my mind.”

“That was, until he stood in front of the camera.”

“He made me believe that he could bring a completely different energy and color to the character. He also made me believe that I could confidently trust him with my camera, 100%.”

In Hollywood, very few actors receive such high praise from Steven Spielberg. Even during a movie's promotional period, such compliments are rare.

But there’s more.

As the film's popularity continued to soar, it became a collective celebration at the end of the year. More and more attention was focused on the people behind the story. The elusive Frank Abagnale Jr. finally made an appearance.

The real deal. The man himself.

Frank Abagnale Jr. had no desire to have his peaceful life disturbed. From the film's inception to its production, not even a joint visit by Steven and Tom could sway this reclusive legend. However, the film’s impact was too great—even Frank Jr.’s grandchildren had seen it, stirring up long-buried memories.

Later, after three visits from New York Times journalist Nicholas Flynn, Frank Jr. finally relented and agreed to his first—and only—interview.

“Movies are just movies. They’re not real. There’s no need to take them seriously.”

Though Frank Jr. didn’t say whether the film beautified, distorted, or caricatured him, his cryptic words carried significant weight.

“But I must thank Anson Wood. He’s a charming kid. My wife even felt a little regret after watching the movie,” he joked.

“Would I want to meet him if I had the chance?”

“No, I wouldn’t. I don’t want to expose my weaknesses in front of him, haha.”

“In him, I see a part of myself—parts I never even realized existed. In that sense, I have to thank him for his performance, which gave me a chance to reflect on my life.”

The interview didn’t stop there, but it was clear that the real-life inspiration behind the film was quite satisfied with Anson.

This was the bonus.

Biopics are often thankless endeavors, especially when they depict still-living individuals. No matter how carefully crafted, controversy often follows. But "Catch Me If You Can" avoided such pitfalls.

The response from the real-life figure provided a unique kind of publicity, helping the film succeed in international markets as well.

*Chapter 729: Can't Stop*

When the "flash mob surprise event" concluded spectacularly at Washington Square, many people began speculating if the event would continue to explore other locations.

Canada? The UK? Germany? France?

And so on.

However, that didn't happen.

No "boy who cried wolf," no false alarms. When Anson said it was over, it truly was. Unfortunately, the event was limited to North America.

As a result, the promotion for "Catch Me If You Can" in overseas markets was lackluster. It couldn't even compare to the buzz in North America; it was on a completely different level. DreamWorks, the production company, and Universal Pictures, the distributor, showed little effort in pushing the film internationally, leading to a weak promotional push.

This meant the movie had to rely solely on the star power of Steven Spielberg and Tom Hanks to drive ticket sales.

But then, a surprise emerged.

First, the success of "Spider-Man" had set the stage. Anson, who returned to the screen in less than six months, was no longer an unknown.

Second, the grand promotional campaign across North America spread through newspapers, TV, and the internet. During the holiday and winter seasons, "Catch Me If You Can" emerged as a major contender, second only to "Harry Potter" and "The Lord of the Rings." Discussions surrounding the film skyrocketed.

Third, the real Frank Abagnale Jr., the film’s inspiration, made a public appearance, adding another exciting element that piqued audience curiosity.

Little by little, the film gained momentum.

Notably, after the release of "Spider-Man" in the Chinese market, "Catch Me If You Can" also made its way to China.

In 2002 and 2003, the Chinese film market was still in a stage of slow, steady growth. The number of cinemas was limited, and the market's global significance was minor. Box office numbers weren't impressive, but the market was developing, and its potential was being tapped.

During this phase, the number of foreign films entering the Chinese market was limited.

Within just an eight-month span, two of Anson's films premiered back-to-back in China, which was unprecedented.

So, regardless of how the films performed at the Chinese box office, Anson's fame skyrocketed, quickly earning him the treatment of a Hollywood rising star.

In the end...

"Catch Me If You Can" topped the weekend box office in countries like the UK, France, Germany, China, Australia, and Japan, showcasing its dominance in the winter season, alongside "Harry Potter" and "The Lord of the Rings." The film was part of the trio that ruled the holiday box office.

The movie opened in 57 countries worldwide, which was unexpected.

Initially, Universal Pictures had no plans to promote the film globally since many markets were outside its distribution channels. With a production budget of just around $50 million, a comprehensive global push didn’t seem necessary, as the investment might not have yielded proportional returns.

However, after witnessing the film's strong performance in North America, local distributors from various countries reached out to DreamWorks to discuss distribution deals.

DreamWorks welcomed these offers with open arms.

As a result, "Catch Me If You Can" was released in smaller markets like Kenya, Peru, and Cambodia, opening new doors for Anson in unexpected places.

Globally, the film topped the box office in 45 countries, securing at least one weekend box office crown in each and delivering an impressive performance.

The UK, Germany, France, and Japan were the top four international markets for the film.

France? Not surprising, given that the story itself is tied to France. Steven Spielberg even personally traveled to Paris for casting, choosing renowned French actress Nathalie Baye to play a character based on a Frenchwoman. This sincerity was well-received by the market.

Japan? Again, no surprise. It wasn’t so much Anson driving ticket sales but rather Steven Spielberg, whose name has held strong in Japan since the "Jurassic Park" era, with a loyal fanbase still in place.

The real surprises came from the UK and Germany.

In the UK, "Catch Me If You Can" couldn't compete with "Harry Potter" and even fell short of "The Lord of the Rings." The two fantasy films, which faced fierce competition in the North American market, finally had their moment in the British Isles. Nevertheless, "Catch Me If You Can" performed quite well.

After grossing $50 million at the UK box office, the film secured a spot in the top ten for the year's box office rankings, competing with titles like "Spider-Man," "James Bond," "Harry Potter," "The Lord of the Rings 2," "Men in Black 2," and "Ocean's Eleven."

As for Germany, no one quite knew what had happened—

They weren’t particularly passionate about "Spider-Man," Steven Spielberg, or even commercial films in general.

Yet, "Catch Me If You Can" grossed $44 million, leaving Hollywood media in awe.

Perhaps Germany’s top-selling newspaper, Bild, revealed part of the truth.

"Anson Wood: Witness the Rise of a New Star."

In conclusion, surprise after surprise contributed to "Catch Me If You Can" easily surpassing $200 million in overseas box office, eventually landing at $265 million.

Compared to North America, the international box office was clearly lower.

This demonstrated just how crucial the "flash mob surprise event" was in the North American market, serving as a key factor in boosting ticket sales.

Of course, the foundation was still the film’s quality and its cast. The combination of the right promotional approach and perfect timing resulted in a miracle at the box office, once again drawing the attention of all Hollywood media.

The film's screening run was unusually long, beginning in North America during the 2002 Christmas season and continuing until Christmas 2003, when its final international screening concluded, marking the end of its magical journey.

$377 million in North America, $265 million internationally.

$642 million worldwide.

The numbers don't lie—it's as clear as day.

If "Spider-Man" was a predictable success, then "Catch Me If You Can" was a Cinderella story. Both films left their mark on the 2002 box office in different ways and propelled Anson Wood to stardom, shooting him from the bottom rungs of the industry to its upper echelons.

Perhaps he’s not ready to join the "Twenty-Million Club" just yet, as the success of both films had some contributing factors beyond his control. Anson has yet to prove he can carry a film on his own at the box office. Entering the "Twenty-Million Club" would significantly raise production costs, and the risks would naturally increase—

After all, when Jim Carrey made history with his $20 million payday for The Cable Guy, the film's box office bomb led to over $50 million in losses for Sony Columbia Pictures, which still serves as a cautionary tale in Hollywood.

However, there's no doubt that Anson has already opened the door to the pinnacle of success, stepping into a whole new world.

*Chapter 730: Top of the Pyramid*

The year 2002 finally came to an end, and with the transition to a new year, “People” magazine did something unprecedented in the second issue of 2003: they featured Anson on the cover, with sharp and concise keywords pointing to the main focus:

"The Next Superstar."

Since Leonardo DiCaprio emerged as the last great star at the turn of the century, Hollywood had been waiting for the birth of the next one.

From the trio of young actors in the "Harry Potter" franchise, to Orlando Bloom's brief appearance in "The Lord of the Rings," and Hayden Christensen in "Star Wars: Episode II," the media repeatedly tried to unearth the star potential of these young actors.

Now, a new actor with superstar qualities has emerged, and in 2002, he completely dominated the movie market with an unstoppable force.

And so, without hesitation, the rallying cry went up.

Everything was simple and straightforward, much like Wall Street—numbers don’t lie.

The year-end box office rankings for 2002 were released:

First in North America: "Spider-Man," $606 million.

Second place: "Catch Me If You Can," $377 million.

Third place: "The Lord of the Rings: The Two Towers," $339 million.

The results speak for themselves—no further explanation is needed.

In a year full of fierce competition, where every major studio put their best foot forward, and sequels dominated the market with strong box office performances, these results were completely unexpected.

No one could have predicted that "Spider-Man" would climb to the top of the year-end box office, rewriting history and almost single-handedly revolutionizing the summer movie season.

And no one expected "Catch Me If You Can" to come out of nowhere and deliver another surprise, shaking up Hollywood from the inside out.

As a side note, Sony-Columbia made a huge profit with "Spider-Man," but DreamWorks earned more than twice as much with "Catch Me If You Can."

Thus, history was made.

In 1982, Steven Spielberg's "E.T." and "Indiana Jones" took the top two spots at the North American box office, making Spielberg the first artist to achieve such a feat as a director.

In 2002, exactly 20 years later, someone else replicated this achievement, something that many believed to be an unbreakable record. But it happened again—this time, by an actor: Anson Wood.

Words are inadequate to describe this moment.

At its core, Hollywood is a game of money and profits. Studios don’t care about experience, talent, or personal character. Despite countless distractions, the only thing that truly matters is profit.

Anyone who can generate buzz, attention, and money is the next superstar that Hollywood desperately seeks.

If—hypothetically—this isn’t enough to prove the point, just look at the competitors on the list. Those who say “it’s all thanks to Steven and Tom,” or “Spider-Man just has a big fan base,” or “it was all just luck” can stay silent. It’s not that simple.

Fourth place: "Star Wars: Episode II – Attack of the Clones," $302 million.

Fifth place: "Harry Potter and the Chamber of Secrets," $267 million.

Sixth place: "Signs," $227 million.

Seventh place: "My Big Fat Greek Wedding," $223 million.

Eighth place: "Austin Powers in Goldmember," $210 million.

Ninth place: "Men in Black II," $190 million.

Tenth place: "Ice Age," $176 million.

Only three non-sequels made it into the top ten, and they all faced fierce competition from major sequels with strong performances.

Of course, there were surprises hidden in these results.

The relatively unknown Blue Sky Studios made their debut with "Ice Age," which stunned audiences and earned both critical and financial success, making it a standout film this year.

However, the true dark horse of the year was the romantic comedy "My Big Fat Greek Wedding," made with a mere $5 million budget. Through word-of-mouth marketing, it astonishingly grossed over $200 million, becoming the biggest surprise of the year.

This was the highest-grossing film ever to not take the top spot at the weekend box office.

If it weren’t for "Catch Me If You Can" making its own Christmas miracle, all the end-of-year glory would have gone to "My Big Fat Greek Wedding."

Looking at it another way, "Catch Me If You Can" managed to beat out the year’s box office dark horse, “My Big Fat Greek Wedding,” the highly anticipated “Star Wars: Episode II,” and the most buzzed-about film of the year, “Harry Potter,” securing its place as the second-highest grossing film of the year.

Anson played a crucial role in this success.

In fact, this wasn’t the first time...

People still remember last year, when Anson made his big-screen debut in "The Princess Diaries," a fairy tale film that became a box office hit and made Anson the prince charming in the hearts of countless young girls.

In other words, Anson has maintained a perfect box office record so far—not just undefeated, but a complete victory, sweeping away the competition. It’s a performance that would make anyone envious.

No wonder “People” magazine rushed to feature Anson on their cover, and no wonder the entire Hollywood crowd has their eyes on him.

Without a doubt, Anson has secured a place at the top of the pyramid, like a comet streaking across the sky, drawing all attention.

At this point, even Leonardo DiCaprio’s momentum seems weaker in comparison to Anson’s.

And there’s still more.

Next is the global market.

In North America, Anson steadily rose through the ranks with each step. But internationally, his progress was slightly slower, not achieving the overnight stardom that Leonardo did.

However, relatively speaking, Anson’s rapid rise on the global stage is still astonishing, and no one can ask for more.

In just his second film, and his first as the lead, he topped the year-end box office in North America and globally. The only comparison might be… the Harry Potter trio.

Last year, "Harry Potter and the Sorcerer’s Stone" topped the global box office.

This year, "Spider-Man" claimed the global box office crown.

This result isn’t surprising, as "Spider-Man" became only the fifth film in history to gross over $1 billion worldwide, securing the year-end champion title early on.

With $1.27 billion, it’s temporarily the second-highest grossing film of all time, so claiming the year-end box office crown was a foregone conclusion.

Thus, Anson dominated both the North American and global year-end box office, without a doubt. His face became the most recognizable on the big screen this year—not just in North America, but globally as well. His role in “Catch Me If You Can” became the reason audiences flocked to theaters, helping the film break into the global top ten at the year-end box office.