Charlie Kaufman has always been hailed as a maverick, his talent undeniable. However, his screenplays are often so imaginative and unconventional that they stray beyond what mainstream audiences can accept, resulting in lukewarm market responses. Throughout his career, none of his works have grossed over $100 million in North America.
Not even $50 million, for that matter.
"Eternal Sunshine of the Spotless Mind" is no exception.
When this film was released in 2004, it received a warm reception from critics and art film enthusiasts, garnering a media score of 89 and sparking widespread discussion among film aficionados. The following year, it was nominated for the Academy Awards for Best Actress and Best Original Screenplay, and it won Kaufman the Oscar for Best Original Screenplay.
Without a doubt, this is a classic. Even after twenty years, it has not lost its luster. Instead, the passage of time has polished it, making it shine purely, proving once again that classics age like fine wine.
In 2024, singer Ariana Grande released her latest album "Eternal Sunshine," bringing the film back into the public eye. For the younger generation born after the 2000s, this movie was quite unfamiliar, providing them an opportunity to revisit these classics.
Yet, when the film was released, it never managed to make a significant impact.
This $20 million investment ended up grossing only $34 million in North America. Even globally, including overseas markets, it only managed to pull in $73 million.
This is the highest-grossing film of Charlie Kaufman's career.
In a way, Kaufman is somewhat like the genius Van Gogh.
They were trapped in their own thoughts, perceiving and feeling the world differently, and they expressed it through art. However, the people of their time couldn't decode their thoughts and deemed their work insignificant, only realizing their value years later.
Of course, Kaufman is luckier. Van Gogh was not recognized until after his death, never receiving the validation he deserved in his lifetime. Kaufman, on the other hand, has been acknowledged, with four Oscar nominations, appearances at the Cannes and Venice Film Festivals, and winning an Oscar for Best Original Screenplay and a Venice Jury Prize.
Unfortunately, the general public still seems to regard him as a madman.
In the twenty years following "Eternal Sunshine of the Spotless Mind," Kaufman only had four films released. Since no director could capture his vision, he started directing himself, but finding investors became increasingly difficult.
Reality is indeed harsh.
However, every loss comes with a gain, and vice versa.
"Eternal Sunshine of the Spotless Mind" didn't receive its due recognition in theaters but found its target audience in the DVD market, gradually spreading its charm in sales and rentals.
Anson likes Charlie Kaufman.
Among Kaufman's works, Anson enjoys the lighthearted absurdity of "Being John Malkovich," the deeper sorrow of "Synecdoche, New York," and, of course, the romantic essence of "Eternal Sunshine of the Spotless Mind."
In the previous life, this film starred two top actors, Jim Carrey and Kate Winslet. Their performances in this imaginative film were both crazy and neurotic yet filled with sadness and bitterness.
Honestly, the Oscars' nomination of Kate Winslet for Best Actress was deserving of applause. However, ignoring Jim Carrey also warrants criticism.
In the end, the Academy has always undervalued Jim Carrey's comedic performances, even dismissing his contributions to comedy acting—
No nomination for "The Truman Show," "Man on the Moon," or "Eternal Sunshine of the Spotless Mind."
In Anson's view, this isn't Jim Carrey's failure but the Oscars' loss.
And now, the script for "Eternal Sunshine of the Spotless Mind" is in Anson's hands. Should he go for it? Should he take on the role originally played by Jim Carrey?
More importantly, does he believe his performance could surpass Jim Carrey's? Or from another perspective, can he interpret it with his own uniqueness, giving the character and film a different color? Does he have the confidence to bring a new charm to the movie?
For a moment, his thoughts were in turmoil.
Across from him, Edgar didn't disturb Anson but kept observing.
For the previous scripts, Anson merely flipped through them, as he said, reading the first three pages and the last two, making decisions in a matter of minutes.
But this script was different; Anson was reading it very intently, lost in thought.
After waiting patiently for a moment, Edgar spoke, breaking Anson's concentration.
"You like it?"
His words were a question, but his eyes and expression were particularly sure.
Anson nodded, smiling, "Who could refuse Charlie Kaufman?"
"In Kaufman's scripts, actors experience a sort of detachment. The presence of the screenwriter is so strong that actors become puppets in his hands, drawn into his world."
"No actor wants to be a puppet."
"But at the same time, Kaufman's scripts require actors to delve deeply into their characters' inner worlds, exploring deeper thoughts within the imaginative narrative. This tests an actor's wisdom."
"Not just acting skills, but also their interpretation of the character, the script, and life."
"So, it's a challenge."
"If an actor can find their own take on it, they can shine brilliantly; if not, they'll become Charlie Kaufman's puppets, saying exactly what he wants."
"God."
"Isn't that an interesting proposition?"
At this moment, what more could be said?
Seeing Anson's eyes light up with excitement, the answer was obvious.
This was the first time Edgar had seen Anson like this.
If possible, Edgar hoped to see more of this side of Anson in the future.
With a slight smile, Edgar gestured to the other script in Anson's hands. "And what about this one?"
"50 First Dates"?
"It's good, very good. I can understand why you chose it, but it's not Charlie Kaufman," Anson's answer made Edgar chuckle.
Actually, Edgar leaned slightly toward "50 First Dates"—lighthearted, simple, purely romantic. They could create a perfect dream lover image.
But then again, such a dream lover is still just a standard heartthrob. Moreover, it's too predictable. From Hugh Grant to Richard Gere to Ashton Kutcher, there are too many actors targeting this audience segment, making it hard for Anson to stand out.
"Eternal Sunshine of the Spotless Mind," on the other hand, is a risk, a unique romantic drama. If it could make an impression on the art film audience like "When Harry Met Sally," it would be perfect. That's also why Edgar brought up this project.
Honestly, Edgar hoped Anson would choose a project, but he wasn't in a rush. He didn't expect Anson to actually pick one.
Lifting his gaze again, Edgar studied Anson's face, his thoughts wavering for a moment before making a decision.
"So, should we go all out to get it?"