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By December 10th
The box office for Home Alone had soared past $400 million, largely driven by the holiday season. Families flocked to theaters as the film became a Christmas staple, contributing to its massive success.
Around the same time, my debut album, My World, had become a hit in North America, with 2.5 million copies sold. Internationally, it sold another 3 million, bringing the total to 5.5 million copies. The album's success wasn't just in the numbers—it had staying power on the charts, lasting for over 30 weeks. Songs like "An Angel" received praise for their angelic vocals, and it landed at number 5 on the charts. "Happy," with its cheerful lyrics and catchy hook, reached number 3, becoming an instant fan favorite.
"Bad Day" surged to the number 2 spot, its relatable lyrics and infectious rhythm making it one of the most played songs on radio stations across the globe. But it was "Who Let the Dog Out" that dominated at number 1, becoming an international sensation and my most successful single to date.
A special highlight was "Naughty," the song featured in the Home Alone soundtrack. It secured the number 4 spot, further boosting the album's popularity. My World went platinum in several countries, including the U.S., Canada, the U.K., and Australia. In some places, like Germany and Japan, it even reached multi-platinum status, cementing my place as an international music star.
After the wild success of Home Alone and my rising popularity, I had offers coming from every direction. Pattie had done an incredible job managing me up until now, but the pressure was mounting. That's when we started seriously considering representation from a larger agency. Enter CAA—Creative Artists Agency—one of the biggest and most powerful talent agencies in the world. Known for handling major stars like Tom Cruise, Will Smith, and Julia Roberts, CAA specialized in taking their clients' careers to the next level, managing everything from acting gigs to music deals.
CAA had their eyes on me, seeing potential beyond just the Home Alone franchise. They pitched themselves as the best agency to manage not only my acting career but also my music. Their pitch was compelling; they talked about expanding my brand through strategic partnerships and high-profile endorsements, aiming to position me as a multifaceted star. They had the best connections, the most lucrative deals, and the experience to handle stars at my level. But even with all that, I wanted Scooter to stay in the mix. He had been part of my career from early on, and I trusted him. I made it clear—I would join CAA, but Scooter had to be my manager. After some negotiation, CAA agreed, recognizing that Scooter had my best interests at heart.
Joining CAA was like entering the upper echelon of Hollywood. They worked with a vast network of studios, record labels, and endorsement companies, securing the biggest and best deals for their clients. Their model was all about making stars as marketable as possible, negotiating everything from multi-million-dollar movie contracts to brand endorsements. They had dedicated teams for every aspect—legal, PR, and finance—ensuring their stars were well-protected and maximizing their earnings potential.
At the same time, 20th Century Fox came back to us with a new offer for Home Alone 2. They were offering me a $5 million salary, making me the highest-paid child actor of all time. But after earning more than $10 million from the box office share of the first film, this offer felt like a step down. That's when CAA stepped in, knowing my worth and the leverage I had after the success of the first film. They advised us to counter with a request for 5% of the box office revenue for the sequel, arguing that this would better reflect my value to the franchise.
The Fox executives were not happy. They believed $5 million was more than fair, especially for a child actor. The president of 20th Century Fox became furious, accusing CAA of greed. Negotiations quickly turned tense. Fox executives pushed back hard, refusing to budge on the 5% share. They argued that the sequel was already going to be more expensive, with a $40 million budget, and that paying me more would cut too deeply into profits. They insisted the $5 million salary was sufficient for someone my age, especially considering the rising costs of production and other cast salaries.
But what they didn't know was that these negotiations would soon be leaked to the press. News that I wasn't going to reprise my role as Kevin in Home Alone 2 because of salary issues became the hottest topic in entertainment news. Rumors about the sequel were already swirling, but this new development sent shockwaves through Hollywood. The media was relentless, criticizing 20th Century Fox for their short-sightedness. Pundits and entertainment journalists speculated that without me, the movie would never achieve the same success as the first. Headlines questioned whether Fox was willing to risk losing hundreds of millions over a small percentage deal. TV shows and magazines debated whether the studio was making a colossal mistake by not securing the star who made the original film a phenomenon.
As the pressure mounted, it became clear that this wasn't just about money. It was about the future of the Home Alone franchise, and Fox had to make a decision—either meet our demands or risk the entire sequel falling apart.
As the media frenzy swirled, 20th Century Fox found themselves in damage control mode. They quickly released a statement attempting to calm the public, claiming the reports about salary disputes and my exit from Home Alone 2 were nothing more than rumors. Fox executives insisted negotiations were ongoing and that no final decisions had been made. Their PR team scrambled to assure fans that the sequel was still on track, hoping to quell the growing backlash. But in the absence of social media, traditional news outlets ran wild with the story.
The headlines exploded: "Home Alone Star Justin at Odds with Fox: Will He Be Replaced?" and "Fox Faces Backlash Over Kevin McCallister Casting Controversy." Major outlets like Variety, The Hollywood Reporter, and Entertainment Weekly rushed to cover the story, each vying to break new developments. The narrative quickly shifted from mere salary disputes to a full-blown crisis for the studio.
Television news segments dedicated air time to the unfolding drama, with pundits speculating on the potential fallout from my absence in the sequel. One prominent film critic noted, "Without Justin, Home Alone 2 could end up being a major box office flop. The first film was a cultural phenomenon largely due to his performance. Fans have an emotional connection to him as Kevin, and replacing him would be a huge risk.plus it will boring to watch movie home alone without Justin acting"
Meanwhile, talk shows across the country picked up the story. On one popular morning program, hosts debated the implications of recasting the beloved character. A celebrity guest chimed in, "You can't just take Justin out of the equation and expect the sequel to work. He is Kevin McCallister.
In one particularly heated article, a prominent entertainment journalist wrote, "It seems 20th Century Fox is willing to risk everything over a relatively small percentage. This isn't just about money; it's about respect for the talent that made the first Home Alone a classic. To think they would consider moving forward without Justin is baffling."
News reports highlighted how the stakes were raised, with experts analyzing the financial implications of the first film's success. Industry analysts pointed out that Home Alone had grossed over $400 million worldwide, in just one and half months.
my portrayal was a significant draw for audiences. "If they think they can replace him and still expect similar box office returns, they are sorely mistaken," one analyst commented.
As the media frenzy intensified, Fox found themselves in damage control mode. In an attempt to quell the rising tide of negative publicity, the studio released a statement asserting that negotiations were ongoing and that no decisions had been finalized. "We value Justin's contributions to Home Alone and are committed to reaching an agreement that works for everyone involved," the statement read. However, this only served to amplify the speculation and criticism.
Fans remained unconvinced, and public opinion continued to turn against the studio. Crowds gathered outside movie theaters to show their support for my return as Kevin, while media outlets captured footage of fans holding signs that read, "No Justin, No Ticket!" The public sentiment was overwhelmingly clear: many were ready to boycott Home Alone 2 if I wasn't involved.
In the midst of this turmoil, a televised segment outside a packed movie theater in downtown Los Angeles highlighted just how passionate fans were about my portrayal. The reporter approached various audience members after they had watched the original film for what felt like the umpteenth time. The responses were loud and clear. A middle-aged man with his kids shook his head vigorously, declaring, "No way! Justin is Kevin. The movie wouldn't be the same without him." A teenage girl echoed this sentiment, saying, "I love the first one, but I wouldn't be interested in the sequel if they replaced him. That's what makes it so fun—Justin's acting."
As the media narrative continued to evolve, it became evident that this was more than just a contract dispute; it was a cultural moment. The prospect of Home Alone 2 without me became emblematic of a larger conversation about the treatment of young talent in Hollywood, the importance of star power, and the relationship between studios and actors.
Ultimately, behind the scenes, the mounting public pressure forced 20th Century Fox to reconsider their position. They feared a potential box office disaster if they didn't secure me for the sequel. After days of tense back-and-forth negotiations, Fox executives finally relented, offering us a revised deal—$5 million plus 3% of the box office revenue. It wasn't the 5% CAA had initially asked for, but it was a significant win for us. Fox hoped that with this compromise, they could move forward without losing face.