Alex was deeply engrossed in the smoky prose of Raymond Chandler's The Big Sleep, the afternoon sun casting long shadows across his patio. The ringing of the phone pulled him away from Philip Marlowe's gritty world.
He picked up the receiver. "Hayes."
"Alex, it's Paula ," his new agent Paula Wagner's voice, bright and efficient, filled his ear. "I have some news regarding 'Catch Me If You Can'."
"Oh?" Alex replied, marking his page in the book. "I thought that was on the back burner for a bit, with Steven Spielberg busy with 'The Color Purple'."
"Well," Paula said, a hint of excitement in her tone, "it seems 'The Color Purple' has been delayed. So, Steven is now ready to move forward with this project."
"That's really good news," Alex said aloud, a smile spreading across his face.
Universal already has the rights to produce the film. Hayes Productions will also be producing it, and now with Steven Spielberg on board to direct, Amblin Entertainment, Steven's own production company will be in the mix too. So, this is going to be a three-production company film.
"So," Alex continued, speaking back into the phone, "what's the next step? Do we need to set up a meeting with Universal and Amblin?"
"Exactly," Paula replied. "I'll start reaching out to all the parties involved. CAA will also be instrumental in making sure you get a fantastic deal out of this, Alex."
"I won't need to be in that initial meeting, Paula," Alex stated. "And I have a feeling Steven will be represented by his people at WMA as well."
"Here are my conditions," Alex reiterated, ensuring his terms were perfectly clear. "I won't be taking a single dollar upfront for starring in the film. Instead, Hayes Productions will invest two million dollars into the production. In return, I want ten percent of the domestic gross—not ten percent of the profits, and not ten percent of the distribution cut. I want ten percent of the very first dollar that the audience pays at the box office. Plus, five percent of the profits from the video cassette market."
There was a brief silence on the other end. Paula understood perfectly. Just three months prior, Universal had offered Alex three million dollars to star in 'Back to the Future'. By foregoing any upfront salary and investing two million of his own money, he was making a significant wager on the film's success. If 'Catch Me If You Can' grossed $100 million domestically, Alex would stand to make $10 million before taxes.
"That... that sounds more than fair, Alex," Paula said thoughtfully. "I'll start putting the wheels in motion with Universal and WMA."
The talks commenced, and negotiations began. Alex anticipated a protracted process, but surprisingly, within a matter of days, an agreement was reached. Both Steven Spielberg and Alex Hayes secured identical terms. Once the film started earning, each would receive ten percent of the domestic box office gross, dollar one. Additionally, both would get five percent of the profits from the video cassette market. Alex and Steven each committed to investing two million dollars in the project. With a total budget of fifteen million dollars, Universal Studios would contribute the remaining eleven million, along with covering distribution costs.
The announcement hit the press like a thunderclap. The pairing of Steven Spielberg, a directorial powerhouse, with the consistently bankable young star Alex Hayes was instantly deemed a potential cinematic juggernaut. Headlines buzzed with the news, the combination feeling like a sure-fire hit given their respective streaks of success.
Given that the film was based on real-life events, albeit with some debated embellishments, identifying filming locations proved relatively straightforward.
The casting process was a collaborative effort between Steven Spielberg and Alex Hayes. Alex himself would be taking on the lead role of Fred Abbruzzi Jr., a character inspired by Frank Abagnale Jr. For the crucial role of Fred Abbruzzi Sr., the charming con man's father, the acclaimed John Lithgow was cast.
The tenacious FBI agent Carl Hanratty would be brought to life by the legendary Gene Hackman, who had expressed enthusiasm about working with both Alex and Spielberg. Dianne Wiest was cast as Fred's mother, Paula Abbruzzi.
Adding a familiar face to the production, Diane Lane was cast in a smaller, yet potentially impactful role, as a sophisticated call girl. It was noted that John Lithgow, Diane Lane, and Dianne Wiest had all previously worked with Alex on the successful film 'Footloose'.
While the previous collaboration of John Lithgow, Diane Lane, and Dianne Wiest with Alex on 'Footloose' provided a convenient angle for publicity, both Steven and Alex were firm that casting decisions were ultimately based on talent. These actors were chosen because they were the right fit for their respective roles, their previous association being a secondary, albeit welcome, benefit. Quality remained paramount for both Spielberg and Hayes.
The role of Brenda Strong, the innocent young hospital nurse who would later become Fred's fiancée, was highly sought after. Following a period of intense auditions, the part was ultimately awarded to the talented young actress Elisabeth Shue.
By the time the intricate pre-production phase wrapped up, October had arrived. Principal photography for 'Catch Me If You Can' was slated to commence in the second week of October.
Coincidentally, around this time, MGM officially announced the release date for Alex's other upcoming film, "The Breakfast Club," scheduling it for November 9, 1984.
*****
Alex walked into the hotel suite that was serving as the set for the scenes between Fred and Cheryl Ann. He noted the quietness, not seeing the usual bustle of crew members in the room, a flicker of confusion crossing his face. Just then, a chorus of "Happy Birthday!" erupted from behind him. He turned to find all the technicians, Steven Spielberg, and Diane Lane beaming at him, along with his Aunt Nancy Jones and her daughter, Janet Jones.
"Alex, have you forgotten your birthday?" Nancy asked, a warm smile on her face.
Janet playfully interjected, "Mom even you forgot until Diane mentioned it!"
Alex chuckled. He didn't blame Nancy; with everyone so engrossed in the production, he'd honestly forgotten himself. "It happens," he said, waving a dismissive hand.
He turned to Diane, offering her a warm smile. She stepped forward and gave him a light kiss on the cheek. "Happy 21st birthday, Alex."
Steven Spielberg grinned, clapping him on the shoulder. "Well, Alex, now you're legally old enough to drink! Though I suspect you've been practicing." The crew laughed.
After blowing out the candles and cutting the birthday cake, the crew dispersed to make preparations for the day's shoot. As they worked, Alex wandered over to where Diane was standing, chatting with a lighting technician.
"Didn't you invite Robert Downey?" Alex asked her, a hint of curiosity in his voice. Robert was one of his closest friends.
Diane smiled. "He's in Chicago shooting a film right now, but he said he'll be flying in tonight. He really wants to be there for the party."
"Party?" Alex asked, a genuine surprise on his face.
"Well, it's your 21st birthday!" Diane exclaimed, a playful glint in her eyes. "Though I heard from your aunt that the last birthday party you actually had was back in 1980, the year your first film came out. But turning twenty-one is special, right? It's the age of true adulthood, or so I've been told."
Alex chuckled, shaking his head. "I feel like I became an adult a long time ago in this business."
"Still, it's special," she insisted with a warm smile.
Alex didn't reply, but a thought drifted through his mind: By my next birthday, I really hope these days of playing high school kids on screen will be behind me.
Alex was deeply engrossed in the smoky prose of Raymond Chandler's The Big Sleep, the afternoon sun casting long shadows across his patio. The ringing of the phone pulled him away from Philip Marlowe's gritty world.
He picked up the receiver. "Hayes."
"Alex, it's Paula ," his new agent Paula Wagner's voice, bright and efficient, filled his ear. "I have some news regarding 'Catch Me If You Can'."
"Oh?" Alex replied, marking his page in the book. "I thought that was on the back burner for a bit, with Steven Spielberg busy with 'The Color Purple'."
"Well," Paula said, a hint of excitement in her tone, "it seems 'The Color Purple' has been delayed. So, Steven is now ready to move forward with this project."
"That's really good news," Alex said aloud, a smile spreading across his face.
Universal already has the rights to produce the film. Hayes Productions will also be producing it, and now with Steven Spielberg on board to direct, Amblin Entertainment, Steven's own production company will be in the mix too. So, this is going to be a three-production company film.
"So," Alex continued, speaking back into the phone, "what's the next step? Do we need to set up a meeting with Universal and Amblin?"
"Exactly," Paula replied. "I'll start reaching out to all the parties involved. CAA will also be instrumental in making sure you get a fantastic deal out of this, Alex."
"I won't need to be in that initial meeting, Paula," Alex stated. "And I have a feeling Steven will be represented by his people at WMA as well."
"Here are my conditions," Alex reiterated, ensuring his terms were perfectly clear. "I won't be taking a single dollar upfront for starring in the film. Instead, Hayes Productions will invest two million dollars into the production. In return, I want ten percent of the domestic gross—not ten percent of the profits, and not ten percent of the distribution cut. I want ten percent of the very first dollar that the audience pays at the box office. Plus, five percent of the profits from the video cassette market."
There was a brief silence on the other end. Paula understood perfectly. Just three months prior, Universal had offered Alex three million dollars to star in 'Back to the Future'. By foregoing any upfront salary and investing two million of his own money, he was making a significant wager on the film's success. If 'Catch Me If You Can' grossed $100 million domestically, Alex would stand to make $10 million before taxes.
"That... that sounds more than fair, Alex," Paula said thoughtfully. "I'll start putting the wheels in motion with Universal and WMA."
The talks commenced, and negotiations began. Alex anticipated a protracted process, but surprisingly, within a matter of days, an agreement was reached. Both Steven Spielberg and Alex Hayes secured identical terms. Once the film started earning, each would receive ten percent of the domestic box office gross, dollar one. Additionally, both would get five percent of the profits from the video cassette market. Alex and Steven each committed to investing two million dollars in the project. With a total budget of fifteen million dollars, Universal Studios would contribute the remaining eleven million, along with covering distribution costs.
The announcement hit the press like a thunderclap. The pairing of Steven Spielberg, a directorial powerhouse, with the consistently bankable young star Alex Hayes was instantly deemed a potential cinematic juggernaut. Headlines buzzed with the news, the combination feeling like a sure-fire hit given their respective streaks of success.
Given that the film was based on real-life events, albeit with some debated embellishments, identifying filming locations proved relatively straightforward.
The casting process was a collaborative effort between Steven Spielberg and Alex Hayes. Alex himself would be taking on the lead role of Fred Abbruzzi Jr., a character inspired by Frank Abagnale Jr. For the crucial role of Fred Abbruzzi Sr., the charming con man's father, the acclaimed John Lithgow was cast.
The tenacious FBI agent Carl Hanratty would be brought to life by the legendary Gene Hackman, who had expressed enthusiasm about working with both Alex and Spielberg. Dianne Wiest was cast as Fred's mother, Paula Abbruzzi.
Adding a familiar face to the production, Diane Lane was cast in a smaller, yet potentially impactful role, as a sophisticated call girl. It was noted that John Lithgow, Diane Lane, and Dianne Wiest had all previously worked with Alex on the successful film 'Footloose'.
While the previous collaboration of John Lithgow, Diane Lane, and Dianne Wiest with Alex on 'Footloose' provided a convenient angle for publicity, both Steven and Alex were firm that casting decisions were ultimately based on talent. These actors were chosen because they were the right fit for their respective roles, their previous association being a secondary, albeit welcome, benefit. Quality remained paramount for both Spielberg and Hayes.
The role of Brenda Strong, the innocent young hospital nurse who would later become Fred's fiancée, was highly sought after. Following a period of intense auditions, the part was ultimately awarded to the talented young actress Elisabeth Shue.
By the time the intricate pre-production phase wrapped up, October had arrived. Principal photography for 'Catch Me If You Can' was slated to commence in the second week of October.
Coincidentally, around this time, MGM officially announced the release date for Alex's other upcoming film, "The Breakfast Club," scheduling it for November 9, 1984.
*****
Alex walked into the hotel suite that was serving as the set for the scenes between Fred and Cheryl Ann. He noted the quietness, not seeing the usual bustle of crew members in the room, a flicker of confusion crossing his face. Just then, a chorus of "Happy Birthday!" erupted from behind him. He turned to find all the technicians, Steven Spielberg, and Diane Lane beaming at him, along with his Aunt Nancy Jones and her daughter, Janet Jones.
"Alex, have you forgotten your birthday?" Nancy asked, a warm smile on her face.
Janet playfully interjected, "Mom even you forgot until Diane mentioned it!"
Alex chuckled. He didn't blame Nancy; with everyone so engrossed in the production, he'd honestly forgotten himself. "It happens," he said, waving a dismissive hand.
He turned to Diane, offering her a warm smile. She stepped forward and gave him a light kiss on the cheek. "Happy 21st birthday, Alex."
Steven Spielberg grinned, clapping him on the shoulder. "Well, Alex, now you're legally old enough to drink! Though I suspect you've been practicing." The crew laughed.
After blowing out the candles and cutting the birthday cake, the crew dispersed to make preparations for the day's shoot. As they worked, Alex wandered over to where Diane was standing, chatting with a lighting technician.
"Didn't you invite Robert Downey?" Alex asked her, a hint of curiosity in his voice. Robert was one of his closest friends.
Diane smiled. "He's in Chicago shooting a film right now, but he said he'll be flying in tonight. He really wants to be there for the party."
"Party?" Alex asked, a genuine surprise on his face.
"Well, it's your 21st birthday!" Diane exclaimed, a playful glint in her eyes. "Though I heard from your aunt that the last birthday party you actually had was back in 1980, the year your first film came out. But turning twenty-one is special, right? It's the age of true adulthood, or so I've been told."
Alex chuckled, shaking his head. "I feel like I became an adult a long time ago in this business."
"Still, it's special," she insisted with a warm smile.
Alex didn't reply, but a thought drifted through his mind: By my next birthday, I really hope these days of playing high school kids on screen will be behind me.