Hollywood has changed. There was a golden age and an age of rebellion, and we are now in an age of post-glamour. The stars are faded, the pictures are abbreviated, and the screens are small.
Well, that's what some people tell you-that Hollywood was never the same after the old system was broken-but don't believe it. I have seen era give way to era, can compare epoch to epoch. The stars now are exactly the same as the stars then: The hot spots and clubs have changed, the styles and fashions, but the underlying motivations, the human drives, which are to be discovered and lauded and respected, never change.
Look at the young stars. They go into crazy clubs, get whacked up and whatever, but when the Macombo and Ciro's and Romanoff's were open in the forties and fifties, it was no different. The booze was flowing, Desi Arnaz was singing "Babaloo," and Joan Crawford was dancing on the tables. The media is what changed. The amount of attention, the size of the lens. In the old days, the problem could always be taken care of. The accident was followed by the phone call and the stars were back on the set in the morning. Nowadays, everything is shown on live TV.
Ocean's Eleven, Twelve, and Thirteen, which together grossed over a billion dollars, have been a capstone on my career. I did not produce the 1960 original but was around when it was made and had long wanted to do a remake; it was the perfect vehicle for young Hollywood, a way to put a handful of actors in a frame built for the original Rat Pack-to show that, though times have changed, there are still those who can shed Sinatra-size wattage. Ocean's Eleven screamed to be back on the marquee.
In 1998, I sent the script to Steven Soderbergh and George Clooney, who had a production deal with Warner's. We met at the Smoke House restaurant for one of those legendary meals, after which you know things will be more fun. These guys made the whole thing work. The feat of a project like this is casting, getting huge stars, Matt Damon, Brad Pitt, George Clooney, Elliott Gould, Julia Roberts, Andy Garcia, Don Cheadle to appear and mesh on the same set. Soderbergh and Clooney had everything to do with pulling this off. They contacted the actors and explained the beauty of the project-this is as close as you can get to old Sinatra days. It was important that Clooney made the calls because he got people to take less money and less back end because it was an ensemble piece. When we sent the script to Julia Roberts we attached a twenty-dollar-bill and a note that said, "We know you get twenty for a movie, but you will have to work for a little less on this one."
We had a great time making Ocean's. For the actors, this joy was often expressed in pranks, most of them directed at me. There was the time that, on a long flight back from Europe, Brad and George, knowing that I am a big vodka drinker, challenged me to a contest. I said, "Look, you're making a mistake. You'll end up with your luggage under your seat." They persisted, so we went shot for shot. I passed out after fifteen. The boys then took the opportunity to fill my clothes, pockets, socks, and shoes with M &M's, thousands of them. Candy was coming out of my ears for weeks. I found out later that, as I had been downing Stolichnaya, they had been drinking water. Nice friends. Then there was the time that George Clooney, after a late night, had a huge breakfast delivered to my room at 5:00 A.M. I got so angry, but the room-service operator kept insisting that I had placed the order myself. When I finally asked where the call had come from, she said, "Matt Damon's room, but it was you calling, Mr. Weintraub."
George Clooney and all those guys can do spot-on Jerry Weintraub imitations.
All that fun we had making Ocean's is captured in the film. You can feel it. It's on the screen. When the movie opened in the summer of 2001, it was a smash, the biggest hit of my career. More important, it started my friendship with a group of actors, Pitt, Clooney, Damon, whom I've come to regard as family. These men are just as important to me as Sinatra and the Colonel were. I travel with them, sit with them, listen to them, love them. They are like my children. I learn from them, and I hope they learn from me, and have fun-developing true friendships, later in life, well, it's one of the great things that can happen to a person. It's like a third act when the third act works. It's a blessing. (I should also mention Bruce Willis here. He did not star in these movies, but he is a feature player in my life, a great artist and friend, another one of Jerry's kids.)
Life is strange. I used to be a kid, sitting at the feet of giants, hanging out with the last of the old-timers. Now, all of a sudden, I am the old-timer, the alter cocker who's been around forever, has known everyone and seen everything. When I look back, I see key moments. Because I did not want to go into the jewelry business. Because I would not wear tights. Because I did not want to return the messages on the call sheet. I see patterns, too. Whenever I felt the urge to obfuscate, as when Lew Wasserman asked, "Were you on the WATS line last night?" I told the truth instead. I asked if I did not know. I listened when someone else was talking. I sold with joy, so my products were fun to buy. Most important, I was never afraid to fail, which meant I was never afraid to try. I was never afraid to look silly, which meant I was never threatened by a new idea. I see the road ahead, too, a stretch that bends into the undergrowth. I do not know what will happen there, but I do know, whatever it is, I will rush to meet it with joy. This is, after all, a Jerry Weintraub Production.