Fresh off the intense and successful shoot for Salem's Lot, Alex was back at the bustling CAA offices on August 1st.
He was there to see Aunt Nancy, eager to catch up and share his experiences on the miniseries.
After checking in, he settled into a comfortable chair, flipping through a magazine, waiting for Nancy.
Just as he was getting engrossed in an article, the receptionist's voice called out, "Alex Hayes? Mr. Ovitz would like to see you in his office."
Alex's head snapped up. Michael Ovitz? He'd heard Aunt Nancy and Bill talk about him—the driving force behind CAA—but he hadn't met him before. A little nervous but intrigued, Alex followed the receptionist to a large corner office that exuded power and influence.
Inside, Bill and Nancy were already seated; a warm smile on Nancy's face as she gestured towards an empty chair next to her. Behind a massive desk sat Michael Ovitz, a man with an intense and sharp gaze, who offered Alex a curt but welcoming nod. Alex took the offered seat, feeling slightly overwhelmed by the unexpected summons. Another man sat in a chair to the side, observing the scene with a quiet air; Alex guessed he was in his late thirties.
As Alex took in the room, the hierarchy Nancy had explained immediately came to mind. Then came Bill, followed by Michael Ovitz, the de facto leader, who—like founding partners Bill Haber and Ronald Meyer—was still only in his mid-thirties. The two absent founders, Rowland Perkins and Michael S. Rosenfeld, were in their forties. Looking around, Alex realized he was, by a significant margin, the youngest person in that room filled with such powerful figures in Hollywood. He wondered with a mix of excitement and trepidation what this sudden, private meeting could be about, especially so soon after the Salem's Lot wrap.
Michael Ovitz turned his attention to Alex. "Alex, I'd like you to meet Tony Bill." He gestured towards the man sitting to the side. "Tony is a very accomplished actor and producer." Ovitz then turned to Tony Bill, introducing Alex with a touch of flair. "Tony, this is Alex Hayes, one of our bright young actors here at CAA. He just finished some fantastic work on the upcoming Salem's Lot miniseries."
Alex offered Tony Bill a polite nod, feeling a bit awkward at the "bright young actor" introduction. He was pretty sure Ovitz had never given him a second thought until very recently.
Tony Bill returned the nod, a warm smile on his face. He extended a hand. "It's a pleasure to meet you, Alex. Salem's Lot? That's quite a project." As their hands met, Tony Bill's smile held a knowing quality, a subtle acknowledgment that seemed to say: Don't worry about the grand introduction. We all know the game.
It was a silent understanding that transcended spoken words, a hint of the standard procedure in the agency world where a little exaggeration was often part of the game. Alex felt a flicker of ease at the unspoken communication.
Alex's mind raced as Ovitz mentioned Tony Bill's Oscar win as a producer of The Sting—a classic Paul Newman caper that had grossed over $150 million and won seven Academy Awards. Yet, Alex was still completely in the dark about why he was here.
As if reading his mind, Michael Ovitz leaned forward, a hint of a knowing smile on his face. "Alex, the reason we wanted you to meet Tony is that he's about to embark on his directorial debut with a new movie, and he specifically wants you to play a role in it."
A wave of surprise washed over Alex. If this were a minor role, Tony Bill wouldn't be here, in Ovitz's office. This had to be a substantial part, a significant supporting role important to the story. The realization sent a jolt of excitement through him.
"Is it... a big role?" Alex managed, the question tumbling out in genuine surprise.
Before Michael Ovitz could respond, Tony Bill leaned forward, a warm smile crinkling the corners of his eyes. "Yes, Alex, it is. It's one of the main leads."
Alex blinked, his mind momentarily blank. One of the main leads in a movie? He'd thought he couldn't be more surprised, but this revelation proved him spectacularly wrong.
Nancy gave Alex's hand a reassuring squeeze, a silent message of support and pride.
Bill leaned forward, his gaze fixed on Tony Bill. "So, Tony, what's the name of this film?"
Alex's gaze mirrored Bill's, both now looking intently at Tony Bill, eager to hear more.
Tony Bill smiled as he announced, "It's called 'My Bodyguard'."
Tony explained the storyline of the movie My Bodyguard, which is about a new kid in school, Clifford Peache, who doesn't believe the rumors surrounding another student named Ricky Linderman. Ricky is a loner who is said to have killed his own brother. Clifford approaches Ricky to be his bodyguard because he's being bullied. Ricky initially refuses, but after saving Clifford from some bullies, they become friends. Ricky has emotional issues due to his brother's accidental death. Their friendship grows as Clifford helps Ricky find a part for his rebuilt motorcycle, and Ricky starts to come out of his shell, proving he's not a killer. The bullying escalates, however, when the main bully hires an older bodyguard who intimidates Ricky and ultimately destroys his motorcycle.
Tony then mentioned that he had seen Alex in the Little House on the Prairie episode where he played Dylan. He thought Alex's portrayal of the sensitive and determined young boy who wanted to see the ocean before he passed away perfectly captured the kind of vulnerability and inner strength he was looking for in the character of Clifford Peache.
Tony's explanation resonated with Alex. He immediately saw parallels between Dylan's quiet strength and vulnerability and the character of Clifford Peache. The idea of playing a lead role in a movie like My Bodyguard filled him with excitement.
Alex had always imagined breaking into the movie industry would be a long, arduous process, requiring years of dedication and countless rejections. Despite his excitement, Alex still felt a sense of disbelief about landing a movie role so soon after his initial foray into acting. This sudden interest felt almost surreal, and he wasn't quite sure how to process it.
"It's all happening so fast," Alex admitted to Tony Bill and Michael, a slightly bewildered expression on his face. "I thought it would take years to even get a shot at a movie."
Michael chuckled, a knowing glint in his eyes. "Hard work is important, Alex, no doubt about it. But in Hollywood, talent alone isn't always enough. Luck plays a tremendous role – being at the right place at the right time, meeting the right people." He gave Alex a pointed look. "And you, my friend, have had tremendous luck so far. We'll see how long that lasts."
Alex pondered Michael's words. There was a truth to what he said. He hadn't exactly planned for any of this; it had all unfolded rather unexpectedly.
Tony Bill, who had been listening intently, leaned forward. "So, Alex, what's your answer? Are you in for My Bodyguard?"
A smile finally broke through Alex's thoughtful expression. "Yes," he replied with a newfound certainty. "Yes, I am."
And just like that, in the same CAA office, with Bill and Nancy beaming at him, Alex signed the contract. While Michael's presence wasn't strictly necessary for a relatively small-budget film like My Bodyguard, he made it a point to attend. As a key figure at CAA, Michael had a vision for the agency to make a bigger mark in the movie business, which was still seen as more prestigious than their already successful television ventures. Even a smaller film was a step in that direction. CAA agents were present, ensuring everything was in order—the actual legal drafting had been handled by lawyers behind the scenes. As it was a small-budget film, Alex's salary—even as a lead—was set at $50,000, a figure that seemed astronomical to him. His journey into the world of movies had officially begun.