In early February 1985, a single piece of news ignited Hollywood: Alex Hayes and John Hughes were collaborating on a new project. The mere whisper of their names together sent seismic tremors through every major studio's executive suites. The star who consistently delivered blockbusters, now with a proven track record as a producer, joining forces with the writer-director who possessed a preternatural understanding of the teenage psyche – this combination promised undeniable box office gold, and every studio clamored for a piece of it.
Alex Hayes's filmography was a testament to his undeniable box office appeal:
My Bodyguard (Universal)
Can't Buy Me Love (Universal)
17 Again (Universal)
Fast Times at Ridgemont High (Universal)
10 Things I Hate About You (Paramount)
Risky Business (Warner Bros.)
Sixteen Candles (20th Century Fox)
Footloose (Paramount)
The Breakfast Club (MGM)
Each film had been a resounding success, solidifying his reputation as Hollywood's most reliable box office draw.
Paramount Pictures – The Boardroom
At Paramount, the news landed with a mix of excitement and a familiar sense of urgency. Frank Mancuso, Chairman and CEO, sat at the head of the polished mahogany table, flanked by Ned Tanen, President of the Motion Picture Group.
"So, the Hayes-Hughes project," Mancuso began, his voice calm but his eyes sharp. "What's the intel, Ned? Is it real? And can we get our hands on it?"
Ned Tanen, a seasoned executive, nodded. "It's real, Frank. Alex himself confirmed it in a meeting with Ovitz. It's a John Hughes script, a high school comedy, with Alex set to star and co-produce."
A younger executive, Don Granger, piped up, "Another teen movie? Do we really need to go all out for another one? The Breakfast Club was a hit, sure, but how many times can he play a high schooler before it gets stale?"
Mancuso turned his gaze to Granger, a slight arch to his eyebrow. "Don, with all due respect, when Alex Hayes is involved, it's never 'just another teen movie.' Look at his track record. Footloose pulled in $128 million domestically, that was a gamble that paid off handsomely for us. The Breakfast Club just crossed $62 million, and it's still holding strong. The kid connects with audiences like no one else right now."
Tanen chimed in, "Exactly. He's not just an actor; he's a phenomenon. His fanbase is rabid, and they show up. This isn't about the genre, it's about the star. And with Hughes, you've got the writing that resonates. We need to be aggressive. Find out what it takes, Ned. Whatever it takes."
Universal Pictures – Executive Offices
At Universal, the atmosphere was one of particularly keen interest, bordering on eagerness. Sidney Sheinberg, President and COO of MCA Inc., Universal's parent company, sat with Frank Price, Chairman of the MCA Motion Picture Group. Given their extensive history with Alex Hayes on multiple successful films like My Bodyguard, Fast Times at Ridgemont High, Can't Buy Me Love, and 17 Again, they felt a strong pull to secure this new project.
"Hayes and Hughes," Sheinberg mused, tapping a pen against his notepad. "A potent combination, no doubt. Frank, what's our play here? We've had tremendous success with Alex. We know his audience."
Frank Price, known for his commercial instincts, leaned forward. "Sidney, it's not just a trend when Alex Hayes is leading it. His films don't just perform; they become cultural touchstones. The Breakfast Club is proof of that. He's got a unique ability to tap into the zeitgeist of young America. He's a marketing dream. Our past collaborations prove he's a consistent winner for us."
"The price will be astronomical," Sheinberg acknowledged. "But the immediate upside is undeniable. We need to explore this. Even if it's a one-off, the immediate returns could be massive. Let's get a read on what CAA is looking for. We want to be at the front of the line for this one."
20th Century Fox
Across town at 20th Century Fox, Barry Diller, Chairman and CEO, paced his spacious office, a phone pressed to his ear. Larry Gordon, President of the Motion Picture Group, sat listening intently.
"So, Hayes and Hughes," Diller said into the phone, his voice sharp. "What's the word, Larry? Are we in the running?"
Larry Gordon replied, "It's early days, Barry, but CAA is certainly fielding calls. Alex is starring and co-producing. It's a John Hughes script about a high school kid who skips school."
"Barry, this is Alex Hayes," Gordon insisted. "He's redefined the teen market. Footloose was huge for Paramount. The Breakfast Club is a phenomenon. His films have an emotional depth that goes beyond typical teen fare, and audiences respond to it. He's got a loyal following that transcends the usual demographic shifts. And his producing involvement means he's invested, not just a hired gun. That's a level of commitment we want."
Diller stopped pacing. "Alright. Get us a meeting. I want to know everything about this project. We need to make a strong play."
Warner Bros. – Executive Meeting
At Warner Bros., Robert Daly, Chairman and CEO, and Terry Semel, President and COO, discussed the news with a sense of urgency.
"Hayes and Hughes," Daly stated, leaning back in his chair. "It's the talk of the town. What's our strategy, Terry?"
"It's a must-have, Bob," Semel responded without hesitation. "Alex Hayes is the most bankable young star in Hollywood right now. His films consistently overperform. He brings an audience that no one else can guarantee. And Hughes knows how to write for him."
"The cost will be substantial," Daly mused. "And the creative control he'll demand, especially as a co-producer."
"It's a cost we need to consider," Semel pressed. "The return on investment with Alex Hayes has been consistently exceptional. And the creative control means he's bringing his vision, his understanding of what resonates. That's a strength, not a weakness. We need to be at the front of the line for this one."
Walt Disney Pictures
At Walt Disney Pictures, a new era had just begun. Michael Eisner, the recently appointed Chairman and CEO, and Jeffrey Katzenberg, Chairman of Walt Disney Studios, were still in the process of reshaping the studio's future. The news of Hayes and Hughes presented an intriguing opportunity.
"Hayes and Hughes," Eisner repeated, a thoughtful expression on his face. "A powerful combination, Jeffrey. This is precisely the kind of high-profile project we need to signal our intent to the industry. I want to prove what Disney can achieve under this new leadership, and aligning with a star of Alex Hayes's magnitude would be a significant statement."
Jeffrey Katzenberg, ever the pragmatist, nodded. "Michael, while it's a high school comedy, it's their high school comedy. Alex Hayes brings an undeniable star power and a loyal youth demographic that we desperately need to tap into. His films have a heart and a message that align, in a broader sense, with the kind of quality storytelling we want to champion. And Hughes is a master at crafting relatable characters."
"But the perception," Eisner considered. "We're trying to elevate the brand. Is a teen comedy the right move for our first major foray into live-action with a star of this magnitude?"
"It's a strategic move, Michael," Katzenberg argued. "It shows we're serious about attracting top talent and producing commercially viable films that resonate with a wide audience. It's about building momentum, about proving we can compete at the highest level. We need to get a meeting, understand the project fully, and see if there's a fit. We can't afford to be left out of this conversation."
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Beyond the individual boardrooms, a collective sentiment began to solidify across Hollywood. While Alex Hayes was undeniably the industry's golden boy, questions lingered about the longevity of his current phase. Executives, both named and unnamed, recognized the imperative to capitalize on his current appeal.
A pragmatic, almost cynical, view circulated quietly among veteran producers: Alex Hayes was a 'cash cow' to be 'milked' for all his worth in teen roles before his transition. 'Who knows if he'll be as successful in mature roles?' one producer was heard musing at a private luncheon. 'It's a different game entirely. The audience might not follow him.' This unspoken sentiment underscored the industry's clear goal: maximize immediate returns before the inevitable shift in his career trajectory.
Thus, the race to secure the Hayes-Hughes project officially began across Hollywood, a vivid testament to Alex Hayes's undeniable influence and the industry's fervent desire to align with his burgeoning star power, even as private debates about his future trajectory quietly simmered.