The new year of 1985 had barely begun, yet the echoes of The Breakfast Club's resounding success already filled the air. The film had not just crossed the $60 million mark; it had soared to an impressive $62.73 million at the box office, a figure still climbing as it played in over 800 theaters. For Alex, this wasn't just a number; it represented the best week-to-week hold of his career, a clear testament to the magnetic power of a compelling story combined with a star who truly connected with his audience. It proved that a good film, anchored by a significant talent, was a sure path to triumph. Had it been any other actor, the film might have been a hit, but it wouldn't have achieved this level of sustained performance.
Alex sat in the sleek, modern conference room at the Creative Artists Agency. Across the table sat Paula Wagner and Michael Ovitz, their expressions a blend of professional cordiality and keen anticipation. Beside Alex sat his aunt Nancy, now the capable head of Alex Hayes Productions, her presence a quiet testament to the growing infrastructure around his career.
"Alex, Nancy, congratulations on The Breakfast Club," Paula began, her smile genuine. "The numbers are truly exceptional. $62.73 million and still holding strong. It's a phenomenal achievement, especially with that week-to-week drop. It just goes to show what a truly great film and a star of your caliber can do."
Alex nodded, a quiet sense of pride in his eyes. "Thank you, Paula. It's been a fantastic ride. The audience response has been incredible, and I'm really proud of what we accomplished with that film."
Ovitz leaned forward, his gaze sharp. "Indeed, Alex. Your business acumen is becoming as impressive as your acting. But we're here to talk about the future. You mentioned two projects you wanted to discuss?"
Alex met his gaze, a confident gleam in his eyes. "That's right. My next starring vehicle, the one I'm most excited about right now, is a John Hughes project." He leaned back slightly, a hint of a smile playing on his lips. "It's a vibrant narrative centered on Ferris. He's a charismatic high school slacker who, along with his best friend Cameron and girlfriend Sloane, skips school for a day in Chicago. The script is brilliant. It's smart, funny, and has a lot of heart. I'm going to star in it."
"And do you intend to co-produce this one as well, Alex?" Ovitz asked, his gaze probing.
"Absolutely," Alex confirmed, his conviction clear. "I believe in this project deeply, and I want to be involved in shaping it from the ground up."
Ovitz's expression tightened almost imperceptibly. "Alex you have already invested in Catch me if you Can. Producing a new project so soon requires significant financial commitment. Do you have enough funds to invest in such an endeavor?"
Alex smiled, a quiet confidence settling over him. "I won't be investing my personal savings, Michael, but rather a portion of my salary for starring in these roles as an investment." He knew he could now command a $5 million salary, and there wasn't a studio in Hollywood that would reject him. But Alex won't be taking 5 million for this project since it is a small budget film. He continued, "Even without my salary, I have enough funds to invest."
As he spoke, Alex's mind briefly tabulated his financial standing. His contract with Paramount for 'Footloose' had stipulated a 5% cut of the film's $128 million domestic box office, which had ultimately netted him an impressive $6.4 million. Even after CAA's 10% commission and the diligent work of his accountant, he was left with a healthy $3.5 million. Two million of that was already earmarked for Catch Me If You Can. He also had a robust portfolio of investments, offering him the flexibility to borrow when needed. One particularly shrewd move had been his quarter-million dollar stake in 'A Nightmare on Elm Street' from the previous year, now poised to return at least $2 million after all was said and done. Alex Hayes, was now firmly entrenched within the formidable ranks of CAA, and he had the financial backing to prove it.
"And the second project?" Ovitz prompted, his interest piqued, moving past the financial query.
Alex's expression shifted, becoming more serious. "There's another project I've been working on, part of my strategy to shed the 'high school teen' image." He looked at Nancy, who offered a supportive nod. "It's based on an article from the May 1983 issue of California Magazine, titled 'Top Guns' by Ehud Yonay. It detailed the lives of fighter pilots. And I contacted Jerry Bruckheimer for this project last year"
"Top Guns? And you mentioned Jerry Bruckheimer?" Ovitz interjected, a slight frown on his face. "Who is Jerry Bruckheimer?"
Paula interjected smoothly, "Michael, Jerry Bruckheimer is the producer Alex collaborated with on 10 Things I Hate About You. He has a strong track record for commercially successful films."
Alex continued, "Exactly. I bought the rights to write a screenplay around that non-fiction article and immediately contacted Jerry. I wanted him to spearhead this project. I'd actually written a screenplay already, based on some ideas I had, but it wasn't complete, and I wasn't entirely satisfied with it." Alex's hand made a dismissive wave. "Jerry then introduced me to screenwriters Jim Cash and Jack Epps Jr., and they've been instrumental in helping me complete it."
Ovitz's gaze sharpened. "Jim Cash and Jack Epps Jr.? Are they new talent?"
"Yes, they are relatively new," Alex confirmed, a confident smile playing on his lips. "But they are good enough to complete the script to my satisfaction. They've brought a fresh perspective and really helped refine the vision."
Ovitz and Paula listened, their initial surprise giving way to impressed nods. This was clearly a pivotal project for Alex's career evolution, and its development had, until now, been entirely off their radar.
"This sounds incredibly promising, Alex," Ovitz said, picking up a pen and tapping it lightly on the table. "When are you looking to start shooting 'Top Guns'?"
Nancy interjected smoothly, her voice firm but polite. "Alex won't be working on that for at least another year. We believe it needs more time to mature, and frankly, Alex himself needs to have a more mature look for the role to truly land with audiences."
A visible wave of disappointment washed over Ovitz and Paula. Their expressions tightened, their initial enthusiasm dimming. Delaying a project of this magnitude for an entire year was not ideal for an agency driven by momentum.
Alex could understand their frustration. He knew Jerry Bruckheimer would be disappointed too. But Alex was steadfast in his decision. "I know this isn't what you want to hear," he said, meeting their gaze directly. "But the next two years are going to be critical for my career. I'll be transitioning out of teen roles, and it needs to be handled perfectly. I'm going to be very busy, and I'll need CAA's full support to make this transition to more mature roles as seamless and successful as possible."
Ovitz and Paula exchanged another look, a silent conversation passing between them. The logic was undeniable. Alex Hayes was not just an actor; he was a star, and his long-term career trajectory was worth investing in.
"We understand, Alex," Ovitz finally said, a faint smile returning to his face. "You'll have our full support. Consider it done."