Norman Frederick Jewison (born July 21, 1926) is a highly influential Canadian film director, producer, and actor, renowned for his exceptional versatility across diverse genres, including musicals, social dramas, and comedies. His career trajectory demonstrates a rare ability to achieve both critical acclaim and commercial success.
His major breakthrough came with the seminal 1967 film In the Heat of the Night, which won the Academy Award for Best Picture and earned Jewison his first nomination for Best Director. He followed this success with the stylish heist film The Thomas Crown Affair (1968) and the monumental 1971 adaptation of the musical Fiddler on the Roof, which secured his second Best Director nomination. Jewison continued to explore difficult subjects, notably with the sharp legal drama ...And Justice for All (1979). His prestige output continued into the 1980s with the powerful military mystery A Soldier's Story (1984), resulting in his third Oscar nomination for Best Director, and Agnes of God (1985). This consistent output of high-quality, often controversial, and commercially viable cinema made Jewison one of the industry's most respected figures.
Michael Ovitz, recovering quickly, leaned back in his chair, his expression shifting from surprise to interest. "But how did this even happen? When did you meet him?"
Alex took a measured sip of his coffee, a small, satisfied smile playing on his lips. "His agent from ICM contacted me while I was in Nevada shooting Top Gun. They sent over the script, I read it, and I liked it. Simple as that."
Ovitz didn't waste another second on the how. He immediately picked up the white telephone on his desk, barking a series of quick, quiet commands to his assistant about locating the full file on the project. It only took a moment for a thick folder to be placed in front of him.
The film, titled Moonstruck, was being developed by Metro-Goldwyn-Mayer (MGM). The studio was highly motivated to attach Alex to this project.
Ovitz's eyes caught the confirmed lead actress. "The lead female role... it's Cher."
Cherilyn Sarkisian, known universally as Cher, was far more than just a musician; she was a cultural icon whose acting career had recently hit a powerful resurgence. By 1986, she was a respected dramatic actress, having earned critical acclaim for films like Silkwood (1983) and Mask (1985). Her established star power added an immediate, high-wattage prestige to the Moonstruck project.
Ovitz set the folder down, knitting his brows. "You're primarily the second lead to her in this, and you are playing her romantic interest." He looked up at Alex, asking, "Isn't she quite a bit older than you?"
Alex gave a casual shrug. "Seventeen years older."
Ovitz leaned forward, tapping the file. "Seventeen years. That's... unusual for a Hollywood romance. Older man, younger girl, sure, that's done every day. But a woman significantly older than her male romantic lead? I don't know if the audience will buy that chemistry."
Alex turned his head, looking toward his other agent. "What do you think, Paula?"
Paula Wagner, who had been listening intently, gave a firm nod. "I think it's fantastic. It shows their love is not just skin deep, which is going to play incredibly well with the mature female audience."
Ovitz turned his gaze from Paula back to Alex. "So you're deliberately aiming for the women demographic with this one?"
Paula answered before Alex could. "Why not? He already has the young audience locked in. With upcoming Platoon and Top Gun he's aiming squarely for the mature male audience, too. Why would he leave the mature female audience on the table?"
Alex gave her a mischievous grin. "Oh, Paula, you know me so well." He looked over at Ovitz. "Paula is absolutely right. My goal is to be the undisputed, most respected star in the world, and you can only achieve that by successfully conquering every single audience demographic."
Ovitz sighed, shaking his head. "As long as you keep succeeding, I don't question you. That's the deal, and I stick to it."
"Aah, Michael. You're a great guy." Alex chuckled, pushing himself up from the chair. "Alright my work here is done. You two handle the fine print and the paperwork; I'm taking off."
"Already?" Paula asked.
"Mia's waiting. See you later." Alex threw over his shoulder as he reached the door and disappeared.
Ovitz watched the door close, then turned to Paula. "Get the legal team on this contract."
"Since he's a co-lead, should we decrease the salary from his usual fifteen percent domestic box office share?"
Ovitz considered it for a beat. "Fifteen is really too high for a co-lead. Make it two million upfront salary and ten percent of the worldwide box office instead of domestic box office.
She gave a crisp nod, grabbed the folder, and headed out to make the call.
And MGM agreed to the contract immediately, without any negotiations. MGM had initially planned Moonstruck as a domestic-focused, mid-budget romantic comedy, with no significant international rollout budgeted or expected. However, with Alex's name officially attached to the project, the entire equation flipped. His immense popularity across key foreign territories—a brand built through blockbuster exports—meant MGM would be foolish not to aggressively capitalize on the international market. For them, conceding the worldwide percentage was a small price to pay for the guaranteed global attention and built-in audience Alex provided.
MGM studio head Alan Ladd Jr. understood this perfectly: with the highly anticipated December 19, 1986, release of Platoon looming, securing Alex's next project was the studio's most critical priority.
*****
The date was December 18, 1986. The premiere for Platoon was held at the Mann's Chinese Theatre in Hollywood.
Director Oliver Stone walked the red carpet with the cast, including Willem Dafoe and Tom Berenger. Their approach was reserved, matching the film's tone.
To ensure high-profile media coverage and industry buzz, Alex had personally invited several major stars. The guest list included established legends like Robert Redford, Paul Newman, Gene Hackman and renowned directors Steven Spielberg and Martin Scorsese, whose presence immediately elevated the event's prestige and media value.
When Alex arrived, escorted by Mia, the crowd noise grew louder. Alex wore a dark suit, and Mia stayed close as they moved through the photographers.
Reporters quickly surrounded Alex.
"Alex, this is your first main role in a serious drama. Do you think a war film like this can succeed?" a reporter shouted.
"It's a risk, isn't it? Will the audience accept you in this kind of film?" another asked.
Alex stopped and faced the cameras. He kept his voice steady and direct.
"I always chose films I believed in," Alex said simply. "That hasn't changed now. I believe in Oliver Stone's vision and the importance of this story."
He gave a confident smile. "The films I believed in until now have all been successful. I hope that remains true tonight, and that this one will also be a success."
Alex then nodded and, with Mia, walked directly into the quiet darkness of the theatre, leaving the camera flashes behind them.