The domestic film market in China had reached a peak in the late 1970s and early 1980s, but it began to shrink under the impact of television, videotapes, and piracy. By the 1990s, the number of moviegoers in China was only about one percent of what it had been at its peak. In such circumstances, importing foreign films became the lifeline of the industry.
At the end of 1994, China officially began introducing foreign films. Initially, only ten films were allowed per year, a move that injected new life into the market. Hong Kong films entering the mainland helped revitalize cinemas, and soon after, Warner Bros.' The Fugitive was introduced through a box-office revenue-sharing distribution model.
The Fugitive became the first American film legally screened in mainland China. In 1995, other films such as True Lies, The Lion King, and Forrest Gump followed, officially opening the domestic market to the global film industry.
As the first to "break the ice," The Fugitive was the only American movie legally shown in cinemas in 1994. At that time, Hugo, led by his parents, went to see it, but he was only five years old and barely remembered the plot. All he recalled was eating a lot of snacks and enjoying a peaceful nap during the movie.
Years later, when Hugo grew up and had the chance to watch The Fugitive again, the impression wasn't as vivid. The film was a typical Hollywood blockbuster, full of twists and action-packed sequences. While the action scenes were impressive, for someone like Hugo, who had seen countless blockbusters, it lacked a certain pull.
In fact, The Fugitive was both a commercial and critical success. It won the Academy Award for Best Supporting Actor and was nominated for Best Picture, which clearly demonstrated its acclaim. It combined thrilling commercial cinema with performances worth analyzing.
The film also bore the unmistakable style of its star, Harrison Ford. Ford had become Hollywood's first true box-office superstar in modern cinema through the Star Wars and Indiana Jones franchises. Though he was not a veteran actor like Jack Nicholson or Al Pacino and had not won any major acting awards, his athletic prowess and compelling gaze drew audiences to theaters willingly.
Although The Fugitive was not as prominent as Ford's other series films, it remained a rare and notable work in his career.
Hugo could not remember the plot in detail, only the intensity and pace of the viewing experience. He vaguely recalled that the story involved a doctor accused of murdering his wife, though the real killer was someone else. To prove his innocence, the doctor escaped from prison, all while evading the police and searching for the real culprit.
At the time, the film seemed extraordinarily thrilling. In hindsight, it was a classic Hollywood hero story: a regular doctor adept at almost every skill imaginable. While exciting, it was clearly over-the-top. Still, the gripping script elevated the film above typical popcorn fare, making it a commendable piece of cinema.
After Joseph gave a brief explanation, Hugo asked curiously, "Last time, Sleepless in Seattle had me auditioning for a widower, which I could understand. But this time, The Fugitive wants me to audition as a successful doctor with a happy family. Don't you think that's a bit off for me?" Harrison Ford was already fifty years old, making the gap between him and Hugo quite apparent.
Joseph was momentarily stunned by Hugo's remark. "I thought you wouldn't turn down any opportunity, that you'd only know after trying, right?"
Hugo nodded. "That's true, but some things aren't worth trying. Like if you asked me to audition for Macaulay Culkin's role in Home Alone—that's clearly unrealistic."
Never giving up is a principle, a matter of faith. But pursuing something clearly impossible is just stubbornness. Wisdom lies in knowing one's limits; perseverance is a virtue, but knowing when to act within your capacity is equally important.
Although Joseph still felt heavy-hearted, he managed a small smile. "Don't worry, everyone knows that won't be a problem. If you succeed in the audition, the story will be adjusted a bit to fit you better."
"Just like with Sleepless in Seattle," Hugo remarked. He was familiar with this practice. Although there had been no updates on that film, if Hugo were cast, the male lead Sam's age and backstory would be adjusted slightly to suit the actor, making it more convincing.
"Exactly," Joseph nodded. "I mentioned this to Arnold yesterday. He said after your audition, if you pass, he'd discuss it with the screenwriter." After that, Joseph focused entirely on driving, speeding toward Universal Studios.
Hugo gripped the handle above the passenger window, eyes wide, swallowing nervously. He still had a shadow of fear from car accidents and felt like the car might take off like a jet. He strongly suspected Joseph was speeding enough to get a ticket. Fortunately, no patrol cars were in sight, or things would have gotten more complicated.
Even though they sped all the way to Universal Studios, the watch already showed 10:15, a significant delay past the scheduled time.
"Quick! Hurry!" Joseph shouted before even fully stopping the car. "Warner Bros. office, fifth-floor conference room. Move, move!" Hugo jumped out and ran as fast as he could. Watching Hugo disappear ahead, Joseph parked, turned off the car, and rushed to catch up.
Running was hardly suited to Joseph's build. By the time he reached the lobby and registered at the reception, he was gasping for air, feeling as if his lungs might burst. Having just missed the elevator, he glanced at the stairs and reluctantly started climbing again.
By the time Joseph reached the fifth floor, five minutes had passed. He saw Hugo standing in the middle of the hallway, hands on his hips, catching his breath. Joseph leaned against the wall near the emergency exit, panting heavily, convinced his lungs might ignite.
Hugo heard the noise behind him and turned his head, sighing. "No one's here."
"Wh…what?" Joseph, nearly out of breath, looked at Hugo in disbelief, only realizing he had forgotten to breathe properly, and immediately started gasping even harder.
"No one. The conference room is empty." Hugo, though slightly winded, appeared surprisingly composed, barely a drop of sweat on him. "I asked the secretary. She said Arnold already left."
"What?" Joseph had no words. He tried to step forward but was too out of breath, sweat pouring down like a waterfall. Leaning against the wall, he muttered, "Get the secretary to call Arnold. If possible, get me directly on the line…" Swallowing hard, he adjusted his breathing. The short running routine he had stuck with for just a week finally helped, just enough to keep him moving.
Hugo, seeing Joseph like this, said with concern, "You really should keep running regularly." Then he turned toward the adjacent office to find the secretary.
Joseph straightened and slowly walked toward the office. At the doorway, he saw Hugo shrug at him helplessly, silently saying, "Handle it outside," and Joseph didn't enter.
When Hugo came back out, he looked annoyed. "Before leaving, Arnold told the secretary that once I arrived, she should inform me that he dislikes tardiness. He considers punctuality one of the actor's basic responsibilities." The secretary's words were diplomatic; Hugo imagined Arnold's own phrasing would have been much harsher. "She also said there's no need to call—Arnold forbade it."
In short: it was over.
Joseph bent over in frustration. "Oh, God." He knew the Anthony matter needed handling, so being late was unavoidable, but he was still angry. If he hadn't been so forgetful, at least he could have called Arnold in advance to explain. Even without the audition, the relationship wouldn't have been strained.
Seeing Joseph's expression, Hugo knew he had fallen into another loop of regret. He patted Joseph on the shoulder. "Hey, man, it's done. No need to dwell. Honestly, missing it might be for the best—the role wasn't really suitable for me anyway."
Joseph straightened, staring blankly. "Are you serious?"
"Of course not. Just trying to comfort you." Hugo shrugged, making Joseph laugh angrily, letting out a short snort. Hugo continued, "I already forget enough things myself; you don't need to add to it. Take this as a lesson. The role wasn't ideal. Next time, don't make me miss Indiana Jones."
Hugo's bluntness relaxed Joseph. He looked at Hugo helplessly, about to speak, then shook his head and laughed.
Hugo walked toward the elevator. "So, you don't have any other scripts on hand?"
Joseph trailed behind reluctantly, glancing once more at the secretary's office before deciding to return to the car to call Arnold on his cell. Looking back at Hugo, he said, "Now you're getting anxious? You weren't this tense when we were on vacation."
"Uh…what's for lunch?" Hugo's voice disappeared along with the sound of their footsteps in the elevator.
.....
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