Actor in Hollywood Chapter 338: Indecisive

From Steven's perspective, the most challenging and central issue in making the film "Catch If You Can" is:

Casting.

Frank Abagnale Jr. is such a legendary figure that if the movie portrays his story, audiences might think it's pure fiction. Yet, he was a real person, and capturing his charisma, his struggles, and the motivations behind his cris is the essence of the entire film.

Steven and the screenwriting team had in-depth discussions and, drawing from their personal experiences, found a way to approach the story through the father-son relationship.

Frank Abagnale Jr.'s initial impressions of cri ca from his father, Frank Abagnale Sr., and he was deeply affected by his parents' divorce. anwhile, FBI agent Carl Hanratty managed to catch Frank by seeing through this very issue.

Thus, Frank and Carl, the criminal and the cop, engage in a cat-and-mouse ga, but sohow develop a father-son-like bond.

This becos the core of the entire film.

It's clear that the actors chosen to play these two roles will face imnse pressure and will determine the film's success or failure.

Initially, Carl Hanratty was set to be played by Jas Gandolfini. Even though Gore Verbinski left the project, Jas stayed on out of loyalty. However, the project kept getting delayed, conflicting with Jas's own filming schedule—

Jas Gandolfini, the star of HBO's iconic series "The Sopranos."

Due to a scheduling conflict, Jas had to honor his contract and go film "The Sopranos." Regrettably, he had no choice but to drop out of "Catch If You Can," aning Steven had to start over when he took over the project.

Without much hesitation, Steven approached Tom Hanks.

Having worked together recently on "Saving Private Ryan" and "Band of Brothers," Steven and Tom were in a great collaborative phase, eting frequently both at work and in their personal lives. Steven thought Tom was the perfect choice for Carl Hanratty, and after reading the script, Tom agreed.

From August to September, "Catch If You Can" was in the process of recasting, but the most critical role, that of Frank Abagnale Jr., remained vacant.

Steven believed Leonardo DiCaprio was the perfect choice.

After all, the actor needed to have personal charisma, fit the versatile nature of Frank Abagnale Jr., and be able to portray the youthful vibe inherent to the character. Additionally, he needed to hold his own in scenes with Tom Hanks and create a strong dynamic, sparking a chemistry between the two.

With such criteria, there weren't many options in Hollywood. At least, not as many as they had hoped.

Unfortunately, "Gangs of New York" was still in production, and Leonardo was unavailable.

This left Steven in a tough spot.

At a party, Jeff Robinov, a high-ranking executive at Warner Bros., unexpectedly suggested an alternative to Steven:

Anson Wood.

Steven didn't know Anson; he hadn't watched "Friends" or "The Princess Diaries," and he was unfamiliar with "GQ" or the Emmy Awards. This na was completely new to him. However, Jeff assured him with a mysterious smile that he wouldn't be disappointed.

And so, Anson first ca into Steven's consideration.

For such an unfamiliar young actor in such a critical role, Steven felt they needed to change the audition process.

Of course, Steven didn't even need to say a word. Just leaking a hint about the role would likely prompt Anson's agent to eagerly arrange an audition. But that approach would often involve agents gathering information in advance and setting up a controlled environnt, which wouldn't reveal the actor's true self.

Frank Abagnale Jr. is a cunning and dynamic yet incredibly charming character. Steven needed to see the actor's natural essence and individuality to shape the character's nuances, envision the face-off scenes with Tom in his mind, and find creative inspiration.

This isn't just any role; it's the key to the entire movie's success. "Catch If You Can" has already gone through too many twists and turns, and Steven has sacrificed a lot for this project. He needs it to get on track and avoid unnecessary mistakes.

So, they needed an opportunity, a setting, where Anson could be observed without being aware, giving Steven a chance for a close-up observation.

As it happens, Frank Abagnale Jr.'s mother, Paula Abagnale, was French. Since this is a biographical film, Steven wants to remain true to the original story and reality, and he hopes to cast a French actress to play the part.

So, Steven and Tom found themselves in Paris.

On one hand, they were there to audition actresses for the role of Paula.

On the other hand, they wanted to personally see Anson.

Everything was kept completely confidential.

Steven believed that even now, Anson and Edgar probably didn't know what was going on. However, once they turned around and went back, Edgar would likely start digging for information.

This was why Tom, who had just seen Anson's calm and composed deanor in the rearview mirror—showing no signs of frantically trying to find out what was happening—had a newfound respect for the young actor. Anson had remained poised as he escorted Anna to the car, and even after she left, he didn't appear in a hurry. He didn't seem like an eighteen-year-old at all.

But then, what was Steven's "but"?

Tom didn't rush him, choosing instead to wait patiently.

After a short while, Steven spoke up, "But, he's too young."

The reason might seem trivial, but it was a genuine concern.

Tom chuckled, "Steven, Frank Abagnale Jr. committed his first cri at fifteen, and he was only in his early twenties when he was finally caught—what was it, twenty-two? Twenty-three? You even want a French actress to play Paula Abagnale, so, age-wise, Anson is actually a perfect fit."

"In fact, Leonardo is already twenty-seven this year, which makes him less suitable for the role from an age perspective. Anson is closer to the real thing."

With soone like Steven, Tom didn't need to hold back. He could be straightforward.

Steven's pride took a bit of a hit. "Tom, you know what I an. It's not just about the age."

"Yes, from an age perspective, we need soone around eighteen to twenty years old, but actors of that age are usually young and inexperienced. Look at Anson; he's only been in one TV series and one movie so far. It's hard for soone like that to handle such a complex role."

Here, Steven's ntion of "young" was less about age and more about experience.

Reflecting on Steven's initial impression of Anson at the studio—referring to him as a "kid"—it becos clear what he ant.

To be precise, it was for these reasons that Steven still leaned towards Leonardo—

Young enough, yet experienced, charismatic, and talented.

To be fair, Steven's directorial talents primarily lie in his ability to coordinate, compose, and narrate. His films are always visually and aurally engaging, but he's never been known for his skills in coaching actors. He needs actors who can understand their characters and deliver their performances independently.

Tom understood Steven's concerns. He wasn't just an excellent actor; he had also tried his hand at directing. But this ti, he said, "I don't agree with you."