"What are you talking about?"

"I'm talking about the fact that I am going to get you a child," he said.

"How are you going to do that?" I asked.

"Well," he said, "we have the Nevada Catholic Welfare Act and we have a home for unwed mothers. We have a wonderful sister there. I am going to talk to her, and she is going to get the baby that God means for you to have."

"But I'm not a Catholic," I told him.

"I didn't ask about your religion," he said. "I asked if you wanted to have another child."

"Well, yes," I said. "I do."

A week later, the sister visited me and Jane in Beverly Hills. I can still see the two of them walking through the house, from the living room to the baby's room, with the sun going down. We sat in the kitchen. "I have your child," the sister told me. "She is already in the home, she is three months old, and she looks exactly like you."

This was Jamie, who is now thirty-two. She came in a bundle, like something in a storybook. And she did look like me. This experience-the death of Frank's mother, the charity event, the innocuous little man, the nun walking through our house, the baby that looked like me-touched me deeply.

I went to Vegas to see the house where the unwed mothers lived while they were pregnant and the babies stayed until homes could be found. I became involved after the visit and gave a lot of money to help the sisters build a new, better home.

Then my third daughter came. This was not something we planned on. It just happened. One day, the sister called. She said, "Jerry, your new baby has been born."

"My baby, Sister? Come on!"

"Yes, your baby," she said. "She is the most beautiful little girl, with a full head of hair-she is supposed to go to you. Don't you want another child?"

"Of course, I want another child."

Paul Anka was singing in Vegas at the time. He was a client and is still a friend. He had his plane there. He flew her back to Los Angeles. This is Jody, who is just about to turn thirty.

I stayed involved with the charities. I gave money, but, more important, I helped babies find homes and couples find babies. (I am the man to go to when you want what money can't buy.) Friends who wanted to adopt came to me. I consulted and advised, then put them together with the sister, who wandered the mansions of Malibu and Beverly Hills, searching for the heavenly connection, just the right baby for just the right parents. I was part of at least fifty adoptions. I still get calls and letters from my many dozens of godchildren, the scions of powerful Hollywood families. After about twenty years, though, I quit my role as facilitator. I cared too much, and felt burdened by the responsibility-a marriage that ended in divorce, parents who seemed cavalier or abusive. I had taken on more than I could handle. I remain involved with the charities, however, give and do what I can. My family was built in a way unlike the way my mother and father built our family in the Bronx, but it sits on the same bedrock: love and loyalty and concern tempered with a large dose of comedy.

Which brings me to a question I ask myself every day: What kind of a father have I been? Have I been good? Have I helped more than I have hurt? Have I given as much as I have taken? In truth, my children have, at times, had trouble. With depression, with drugs, with all those exotic things that befall kids nowadays. Though I do not like all the things they have done, I am here for them when they are in jeopardy and I do whatever I can when they need help. I sometimes wonder if the root of the problem is in our very circumstances, if the life we have given our children-the money and the cars and the vacations and the private planes-has spoiled the everyday world for them.

Can the child of a rich man have the same ambition as a kid from the Bronx?

One evening, one of my daughters, having just flown on a commercial plane for the first time in her life, called me in a panic. "My God," she said, "the way they jam you in, and make you sit there, in one seat, it's like a prison!"

In the end, though, I think your outlook has less to do with money than with the values your parents exhibit and your own nature. In this, I've been neither perfect nor blameless. I love my children and I think I have been a good father, but there were times when I chose my career over the life of the house. Was I there for every recital, or play, or concert? No, I was working. It's nearly impossible to succeed in the world and also succeed in the house, which means, at some level, even if you do not realize it, you make a choice. This is a regret. I wish I had been there more, had done better, had given my children as much as my parents gave me. I did not. I was always divided, being pulled away, on the phone, and so forth. But maybe you do best by being true to your nature. Whatever my children have lost to my work habits, they have made back in the privileges afforded them by my success. I could not give them what my parents gave me, so I gave them the world instead.

The Producer

J ust what does a movie producer do?

It's a question I hear all the time.

Well, simply put, the producer is a driving force behind the project. It's often the producer who finds the story, the article that reads like a movie, the novel that cries out to be filmed, the event you just know will light up the screen. He tracks down the author or owner or real-life players, secures the rights-at favorable terms-hires a writer to turn the story into a script, which is key. I don't care what kind of cast you have, how beautifully the thing is shot-if you don't have the right script, you're going to fail. But with the right script, you can set yourself up with a studio, get a bucket of cash, hire a great director and actors, scout locations, and so forth. As the project proceeds, your job-one of them, anyway-is to police and guide everything, to be the adult, the voice of authority, the wallet when it's pay time, the hammer when it's hammer time. For this, you take some of the credit when it works, and most of the blame when it fails.

What qualifies a person to be a movie producer?

Another question I'm often asked.

Well, it's mostly a matter of temperament. You have to enjoy being in the world, mixing it up, reveling in hits and misses. A movie set is like Brigadoon, a city that appears on the sands and exists for just a time, with all the rivalries and passions of a metropolis. The producer is mayor of that city, shaking hands and walking streets, calling people to compromise, rise above, and, crucially, to work with people they do not like. You have to praise and you have to scold. It must have been easier in the old days, of course, when the actors were on contract and thus were simply told: Go there, play that. But every player is now a free agent, meaning everyone is a star and expects to get paid like a star, or at least a little bit more than anyone else is getting paid.

This dynamic-everyone measuring himself or herself against everyone else-has just about killed the ensemble picture. The Wild Bunch, The Dirty Dozen, The Magnificent Seven-you hardly ever see movies like that anymore. It's become nearly impossible to produce a film with more than three major stars. It's less about money than about politics. People talk on the set, and when they talk, they compare, and when they compare, they bitch. Some demand raises or back-end points, others simply storm off. Which is why I consider the Ocean's movies such a triumph. Merely being able to assemble such a cast-Clooney, Pitt, Damon, Gould, Garcia, Cheadle, and so on-and keep it together through three pictures was a feat. My role in this was both as hands-on tactician and as guiding spirit. I was the old man upstairs, saying, "Isn't this fantastic! Can you believe all of the fun we're having?"

But the main job of the producer is this: Solve problems. The list of my movies is, in fact, little more than a list of problems solved. The pit boss won't let us shoot in the casino? Fine! Build a casino in Burbank. Each movie tells the story of its producer, where the idea came from, and how the crises were averted.