There and Back Again Read Online Free PDF

it has to be this movie.”
    He went on to describe the way they intended to market the picture and said that they knew it would be a successful venture. I’d already been briefed on the specifics of the deal. Disney had offered me roughly $150,000 to play one of the film’s three leads, slightly more than I’d earned for Toy Soldiers, and infinitely more than I’d been paid on Where the Day Takes You. They’d also offered me the potential for an additional $400,000 on the back end, which, of course, I believed I’d never see, because hardly any actor ever sees back-end money. Jeffrey, however, said this movie would be different: there would be a unique definition of “net profit” that would ensure a bonus for everyone involved. Assuming, of course, that the movie performed well at the box office, which, frankly, I thought was a long shot. As Jeffrey talked, I could barely hear his words over the clatter of my own thoughts: This movie is a piece of crap, and it’s never going to make a nickel.
    Since I had some fairly serious career aspirations, I didn’t voice that opinion. Rather, I tried to play the few chips I had, in diplomatic fashion.
    â€œMr. Katzenberg, it seems to me, based on the way you’re structuring this deal, that you want me to take a leap of faith with you on this movie.”
    â€œThat’s right.”
    â€œWell, if you’re willing to sit down and listen to some ideas that I have as a filmmaker, I’d consider making this movie with you.”
    Again, there was a pause on the other end of the line, this one even longer than the first.
    â€œSean, please … don’t blow the deal over twenty grand.”
    Then I realized what was happening. My agents had been lobbying for more money, when what I really wanted was a chance to express myself as an artist. They had intimated to Disney that if the salary was bumped up twenty thousand dollars, I’d do the movie. Katzenberg naturally thought I was trying to squeeze him in some sort of clever, indirect way, which wasn’t the case at all. I didn’t want to do Encino Man, but if it was possible to leverage my participation into some other type of opportunity, then perhaps it would be worthwhile. But Jeffrey had no interest in me as a filmmaker; he just had a movie to make, and I fit the role.
    I called Mench back and told him the conversation hadn’t gone well. “Jeffrey thinks it’s all about the money,” I explained. “He doesn’t understand who I am as an artist. I don’t think he cares.”
    â€œSo what do you want to do?” he asked.
    Menchel was clearly amused by my chutzpah. He may have realized that I was upset that CAA was managing my reputation, and that I was uncomfortable about trying to tap dance out of the situation in a way that didn’t hurt my credibility. I’m sure many an actor would have killed for that offer from Jeffrey Katzenberg, and in subsequent years, I would have, too. But all I could do at the time was follow my gut, believe in myself, and try not to sell out. Funny, huh? Coming from a guy who compromised his sense of egalitarian righteousness to accept a gift while screwing a fellow thesp out of the part he thought was his. But we’ve been through that.… What did I do about Encino Man and the extra twenty thousand CAA was gunning for?
    â€œTell them we’ll pass.”
    â€œYou’re sure?”
    â€œYeah, I’m sure.”
    *   *   *
    The next time I gave any serious thought to Encino Man was while I was exploring Europe with Christine. I got a call in Barcelona and was told that Ricardo Mesterez wanted to see my short film. Ricardo was the president of Hollywood Pictures. As such, he reported directly to Jeffrey Katzenberg.
    The short film to which he referred was On My Honor.
    Yep, I had finished it, in 35-millimeter. It was sixteen minutes long, and despite its