Hugo's outfit today was deliberately casual: a black base T-shirt layered under a deep blue open-collar T-shirt, loose-fitting jeans, and a mustard-colored work jacket. He wore no accessories, and nothing about his look drew attention—it was an utterly ordinary ensemble.
Upon entering the restaurant, Hugo removed his jacket and rolled up his sleeves. The cotton T-shirt, softened and loosened by repeated washing, sagged slightly and lacked any design. A small black stain on the sleeve suggested careless laundering.
The outfit looked simple and relaxed, but in a formal audition setting, it was a bit disorderly—almost inappropriate. Nora had imagined that, even if Hugo wasn't dressing to impress, he would at least appear neat and tidy. From a woman's perspective, Hugo's striking looks could compensate for some casualness, but this outfit immediately cost him points; any woman would form a less favorable first impression.
Hearing Nora's comment, Joseph tensed up. His eyes stayed on Hugo, but his peripheral vision never left Nora. He had questioned Hugo's wardrobe when they left for the restaurant, but Hugo had insisted, and Joseph had reluctantly yielded. Now, it seemed his worries were justified.
Rob frowned at Hugo's attire. During the A Few Good Men audition, Hugo's outfit had left a strong impression: understated yet appropriate, perfectly matching the character. That jacket even appeared multiple times during filming. Today, Hugo's casual and slightly untidy look struck Rob as disrespectful.
But Hugo remained completely unbothered. He even shot Joseph a reassuring glance before addressing Nora.
"What I worried about was that I might not even get the chance to speak," Hugo said. "If this dinner had just been a meal with no conversation about the film, I needed a way to show—without being rude—that I'm actually well-suited for Sam's role. And also, that I'm not as flashy as you might think."
Clothes do matter—this is true for everyone. Even top models can make a simple T-shirt and jeans look stunning, but the basics still count: clean, neat, appropriate for the occasion, and suited to the person. A spotless white shirt among blue-collar workers looks out of place, while a well-worn work jacket can appear perfectly fitting. The reverse is true as well.
Even someone like Hugo, with natural advantages, needed to dress appropriately for the setting to convey the right impression. His outfit today, however, was ill-suited. The shirt, the stain, the casual jeans, and the stubble on his chin made him appear older and slightly disheveled. Yet, paradoxically, this untidiness lent him an air of a weary, middle-aged man—subtle, almost imperceptible, but present.
And that… was exactly the point. Hugo's "audition without being overt" had already begun. His acting would reveal his suitability for the role, drawing from life experience.
Rob immediately understood. He recalled the A Few Good Men audition—this was exactly how Hugo had convinced him back then. Despite seeing many talented actors, Rob couldn't help smiling at Hugo's dedication and professionalism.
Nora's initial reaction to Hugo's words was surprise, followed by a careful, evaluative gaze. No wonder she had felt something was different today. Hugo didn't fit the sunny, handsome young man she remembered; instead, he projected a quiet, mature steadiness. And though she nominally controlled the conversation, it was Hugo who had steered the dinner back to the film. From the beginning, he had been fully committed.
Hugo now appeared older than twenty-five. He could pass for thirty. The stubble, casual shirt, stains, and understated clothing all suggested a man weighed down by life—but his gentle smile, intelligent humor, and focused, earnest gaze conveyed stability. He appeared humble, hardworking, and reliable. Beneath the surface, the faint melancholy hinted at life's hardships, yet he concealed it well, continuing to face life resolutely.
This… perfectly suited the image of a young widower. Imagine a man grieving his lost wife, his sorrow quietly lingering, leaving little time to care for himself. His clothing appears slightly neglected. Yet, he must remain strong for his child, becoming the family's sole pillar, providing hope and light.
Nora's smile returned, this time warmer and more genuine. Her interest in Hugo increased. "Hmm… I suppose you haven't read the script. So why do you think this image is suitable for Sam?"
Her question was direct. Rob and Joseph also turned their attention to Hugo, curious. Hugo mentally answered: Because that's the feeling I got from watching the film. I have read the script. But this inner advantage could not be shared openly. He smiled faintly and said aloud,
"I'm not saying this image automatically fits Sam. But in my mind, a man who has lost his wife yet continues to live with strength—this is how he would appear."
"Facing death is never easy," Hugo continued, his eyes darkening slightly. "People often say death isn't so scary, because once you die, everything disappears. But for the living, that's just the beginning of suffering."
He thought of the mess left behind in 2014 after his time travel, and how, as Hugo Lancaster, he had no choice but to endure. That strength—the most difficult part—was all he could rely on.
Hearing this, Nora, Rob, and Joseph all fell silent. Hugo was the youngest at the table, yet his words carried a depth far beyond a twenty-five-year-old's years.
Death—perhaps a riddle no one could fully comprehend in a lifetime. Joseph couldn't help thinking of all Hugo had endured: the terrible car accident, the brush with lethal poison, and the ups and downs of his acting career. Seeing Hugo so dedicated and earnest now, Joseph felt a sudden, genuine admiration—not as a agent, but as a friend.
"Yes… death may be a release, but living is where the pain lies," Nora murmured softly.
Raising her eyes, she looked at Hugo and hesitated before asking, "Hugo, many actors, when they hear the premise of this film—two strangers falling in love because of a radio program—think it's too unbelievable. They believe such a story could never succeed. So… why are you willing to take on a project like this?" She didn't finish the sentence, leaving unspoken: "And why have you worked so hard for this opportunity?"
From the start, Sleepless Nights in Seattle had faced obstacles. Nora had initially hoped Columbia Pictures—the studio behind When Harry Met Sally…—would take on the project. But after evaluation, Columbia didn't think it could succeed on the big screen. "It would be a disaster," they warned. She then approached 20th Century Fox, who had invested in her screenwriting debut, Silkwood, but they too declined.
Eventually, Columbia's independent label, TriStar Pictures, saved the project. Though they only offered $15 million, it exceeded Nora's expectations.
Casting proved another challenge. Actors she wanted had all declined. Clearly, few had faith in the success of a romantic story. To this day, she still didn't know who her leads would be, and production seemed distant.
"If I said it's because I believe in the magic of love, would you laugh at me?" Hugo's words brought quiet smiles to Rob and Joseph, though Nora remained thoughtful, her eyes reflecting a deeper consideration.
"Love is a miraculous thing," Hugo continued. "It can bind two strangers together. Some fall in love because of appearance, some because of personality, some because of a voice, some because of a small detail—like a hand or collarbone. And some simply because of a feeling."
Rob and Joseph's faces remained lit with gentle smiles, and a subtle curve appeared on Nora's lips, a rare expression of quiet delight.
"Nora," Hugo said suddenly, "I don't think you chose to make this film because it's an easy project to shoot, do I?"
Nora pressed her lips together, replying earnestly, "No. It's because I want to believe that in this world, in this time, a pure love can exist—one born from the soul."
"Same here," Hugo said with a warm smile. "I want to play this role not because it promises success or box-office appeal, but because I believe it offers a fresh challenge. I also believe in the story's magic—it can move me, and it can move the audience."
....
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