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"10% profit and capital gets exploited everywhere; 20%, and it becomes active; 50%, and it's willing to take risks.
100% profit makes capital trample the law; 300%, and it dares to commit any crime, even risk the gallows."
So, what does a $10 million production cost that rakes in $480 million at the global box office represent?
Of course, box office revenue isn't the same as actual profit—there's a clear distinction—but for Hollywood, these numbers are more than enough.
Collective frenzy!
Quite literally.
Suddenly, all eyes turned to the crew of The Butterfly Effect.
Rachel McAdams, Heath Ledger, and the rest of the cast became overnight sensations, standing under the bright lights of fame. At the center of the storm was Anson himself.
While the actors had agents to shield them from Hollywood's frenzy, the two directors and screenwriters had no such protection—exposed and vulnerable, they faced the tidal wave of mania with bare hands.
Both Eric and Mackie initially believed this was the dream they had been chasing—standing in the spotlight of Hollywood's fame and fortune.
But with no buffer or preparation, being thrust into it all at once was overwhelming. The happiness and joy lasted just three seconds before anxiety set in.
Dazzling and overwhelming.
At the core of it, Eric and Mackie were just nerdy guys who had quietly lived for over seven years in the shadows of Los Angeles. They still resided in a shabby shared apartment because the box office bonuses hadn't yet arrived. Yet, they suddenly became the focus of all Hollywood. The stark contrast was too much to handle.
At first, Eric and Mackie excitedly embraced the attention:
Money. Fame. Love. Success. Everything came pouring in. They were on top of the world.
And indeed, major studios and countless producers swarmed them, eager to see if Eric and Mackie had other scripts in hand or if The Butterfly Effect had plans for a sequel.
Eric: …
Mackie: …
The two were stunned.
They had spent seven whole years honing the script for The Butterfly Effect, pouring all their energy into it. There were no other projects. And a sequel? What nonsense was that?
Even New Line Cinema, the film's distributor, approached the directors immediately.
A sequel!
What? No sequel?
No problem—if they didn't have one now, they could start working on it.
Eric and Mackie started feeling the pressure. Fame came too fast, leaving them no time to reflect on their next step. They were swept into a mirage-like storm created by Hollywood before they could catch their breath.
Did they want to seize the opportunity?
Of course, they did! They dreamed of diving into a new project, striking while the iron was hot, and riding the wave of success to a new life.
But they had no new project in hand—
What now?
Moreover, New Line and other studios remained laser-focused on a sequel to The Butterfly Effect.
Sequel, sequel, and more sequel.
Eric and Mackie were completely stumped.
The story of The Butterfly Effect was complete. Its five alternate endings wrapped up every possibility, and forcing a sequel would only ruin it.
Besides, they had zero inspiration for one.
In the chaotic uproar, Eric finally thought of Anson—
Even though they had no answers, Anson might.
From another perspective, the studios probably wouldn't want a sequel without Anson, right?
Even if they had inspiration, they'd still need Anson's approval.
They called Anson.
Anson, well aware of Hollywood's craze for profit, understood the relentless pressure studios would apply—even if Eric and Mackie didn't have a sequel, they'd keep throwing money at them until one materialized.
History had proven this true.
In the years to come, not only did The Butterfly Effect get a sequel, but it also spawned a third film. Eventually, with original scripts becoming scarcer in Hollywood, the franchise even saw a reboot.
Sequel after sequel, endlessly.
But none of that concerned Anson—he had no interest in sequels.
The reason was simple: Evan's story was complete. Any sequel would only tarnish the film's legacy.
Anson believed Eric and Mackie felt the same way.
So, he suggested an alternative.
Sell the sequel rights to a studio.
The studio could hire new writers, directors, and cast to create an entirely new story. This approach avoided the issue of rising salaries for returning cast members, allowing the studio to control costs and reduce risks.
Meanwhile, Eric and Mackie wouldn't have to force themselves to create a story they didn't believe in. Instead, they could earn money from selling the rights and focus on crafting a fresh project.
"You can tell Hollywood you're working on something new, breaking free from The Butterfly Effect to explore different ideas," Anson advised.
"Trust me, Hollywood eats that up."
Sure enough, Anson was right.
Eric and Mackie sold the sequel rights to New Line Cinema.
New Line hired new writers to draft a script for a fresh take.
Shortly after, Eric and Mackie announced they were collaborating on a brand-new project, sparking widespread curiosity and discussion across Hollywood.
Everyone found their happy ending.
Including Anson.
Finally, people stopped badgering Edgar about a Butterfly Effect sequel, giving him some peace.
As for Anson?
After the premiere of The Butterfly Effect, Anson picked up his guitar again and embarked on a road trip across North America. This time, with no work interruptions, he spent a whole month leisurely traveling from the West Coast to the East Coast, savoring the land's spirit at a 1960s pace.
When Eric and Mackie called, he was near Memphis, tracing the footsteps of Johnny Cash's early life and exploring the underground music scene there.
Though half a century had passed, Memphis still retained its unique charm, and the dreams of its music-loving residents remained much the same.
Slowly but surely, Anson made it back to New York before Christmas, diving into the city's snow-covered streets.
It was a cold winter.
(End of Chapter)