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.