With the emotionally vital ground-level scenes—the bar sequences and the volleyball match—successfully captured, the production entered its most technically demanding phase: filming the actual air combat. The film's success relied on conveying the speed and intensity of being inside an F-14 Tomcat.
The entire crew and cast moved to Naval Air Station Fallon, Nevada. This move involved extensive cooperation between Universal Studios and the U.S. Navy, granting the production necessary access to equipment and training areas.
The biggest cinematic challenge was capturing high-quality 35mm footage of the actors' faces while the jets were under heavy G-forces. Standard camera equipment was too large and too sensitive to vibration.
This technical hurdle led to a necessary discussion between the director and the star, who had a major stake in the outcome.
"Tony, we need a clear view of the actors' reactions in that small space," Alex noted during a break. "The camera can't interfere with the pilots, and the vibration will be heavy."
Tony Scott agreed. "We have to keep the focus tight on the actors and the cockpit. The cameras must be steady, and the lighting needs to work with the natural light from the canopy."
"Let's use two cameras in each jet," Alex suggested. "One to capture the world outside the cockpit, letting the audience feel the surroundings rush past and convey the incredible speed, and one close-up, fixed on a stabilized mount, to get the detail on the faces. Focus needs to be clear and wide, with maximum available light."
Scott accepted the suggestion. "A dual-camera setup it is. We'll ensure the cockpit shots feel visceral and real."
The resulting cameras were robust, capable of handling the pressures of aerial maneuvering, yet small enough to fit inside the cramped cockpits, allowing the filmmakers to capture their authentic reactions.
While NAS Fallon provided the base setting and the desert landscape for air-to-air maneuvers, the film also required the ultimate setting: an aircraft carrier. The USS Enterprise was provided by the Navy as the main floating set piece.
Filming on the carrier was challenging due to the constant operational schedule of the Navy. The film crew worked within strict timeframes, adhering to the ship's schedule. Cameras were bolted down to the flight deck, capturing the raw environment: the steam and noise of the catapult launches, the dangerous process of planes landing, and the intense teamwork of the crew.
Tony Scott focused on capturing dynamic visuals, using the natural sunlight and the action on the deck to develop the film's unique, fast-paced visual style.
Alex, committed to the demanding environment, often worked fifteen-hour days. The logistics were complicated and required careful planning, but the team successfully captured authentic footage of naval aviation.
Amidst the high-stakes filming, September 5, 1986, arrived—the release date for The Color of Money. Directed by Martin Scorsese and starring cinematic legend Paul Newman, the film was a major prestige picture that promised to redefine Alex's reputation as a serious actor. However, due to the inflexible schedule and remote location of the production, Alex was unable to attend the premiere.
Fortunately, the presence of Scorsese and Newman ensured no shortage of publicity for the film.
Back in Chicago, where the premiere was held because the film primarily revolved around the city's pool halls and was substantially shot there, the atmosphere was charged with nervous energy.
The film's director and cast were present, alongside Alex's core team: Nancy, Paula Wagner, and Michael Ovitz. They were somewhat nervous, acutely aware that this film, despite Alex's supporting role to Newman, was the true test of his reception among mature, critical crowds.
Watching the crowd file in, Paula observed, "The audience seems evenly split—a strong young crowd, here for Alex, alongside a significant mature crowd, drawn by Scorsese and Newman."
Michael Ovitz, typically reserved, gave a small, anxious nod. "At least the opening weekend box office won't be bad," he said.
Nancy and Paula shared a laugh at his caution. "It will certainly be a commercial success because of Alex's popularity," Nancy agreed. "But to sustain that opening weekend and become a clear winner, it needs to be really good."
"And it's about pool players," Paula added. "Not many are clamoring for that kind of niche drama."
Michael nodded and shook his head immediately. "Well, let's trust Alex's vision."
"Come on, Michael," Nancy teased. "You're not your usual self. You don't give that much leeway with other clients. You always have a word to say."
Michael smiled, his tension easing. "Success is the best proof, Paula. And Alex has plenty of that."
Nancy, looking at the theater doors, whispered her hope: I hope so, and that this won't be his first failure.
*****
The lights dimmed, and the film began. It opened on former pro-pool player "Fast Eddie" Felson (Paul Newman), a character from the film The Hustler, who has given up the game to become a successful liquor salesman in Chicago. He partners with various pool players, including a hustler named Julian (John Turturro).
The audience watched as Eddie and Julian meet Vincent Lauria (Alex's character) in a pool hall. The young audience erupted with whistles and applause at Alex's entrance. Vincent, young and immature but fiercely charismatic, is with his slightly older girlfriend, Carmen. Vincent's skill is immediately apparent as he outmatches Julian at nine-ball. Recognizing Vincent's talent and Carmen's inexperience at luring players to lose money, Eddie tells the couple of their excellent potential for hustling.
Manipulating Vincent's insecurities about Carmen and giving him a valuable Balabushka cue stick, Eddie persuades him to accept his offer. Eddie's abrupt departure upsets Julian, as well as Eddie's girlfriend, Janelle.
The core of the film was the fascinating and volatile relationship between the mentor and the protégé. The chemistry between Paul Newman and Alex Hayes was undeniable. For the older audiences, watching the disciplined Newman interact with the kinetic, arrogant Hayes felt like a profound, ceremonial passing of the torch.
Vincent and Carmen hit the road with Eddie in his Cadillac, visiting a series of pool halls, with Eddie taking most of any winnings and absorbing losses. Eddie attempts to teach him the art of hustling, but Vincent balks at having to play below his ability. At a pool hall run by his old acquaintance, Orvis, Eddie becomes fed up with Vincent's arrogance, and leaves him. In Vincent's absence, Eddie reminds Carmen that they are partners with a mutual business interest in Vincent. Eddie returns to find Vincent grandstanding, beating the pool hall's best player but scaring off a wealthier mark. Eddie and Vincent talk frankly, agreeing that Vincent must curb his ego if they are to succeed.
Eddie and Carmen struggle to rein in Vincent's showboating. After a string of successful games, Vincent plays the famed Grady Seasons, but is directed by Eddie to dump the game to inflate the odds against Vincent in Atlantic City. Goaded by Grady, Vincent nearly fails to throw the game, and Eddie is inspired to play again. After some success, Eddie is beaten by Amos, a hustler. Humiliated, Eddie leaves Vincent and Carmen with enough money to make it to Atlantic City.
Eddie enters the Atlantic City tournament, in which he triumphs against Vincent. Vincent surprises Eddie in his room and explains that, after boosting his odds by beating Grady, he bet on Eddie and dumped their match. Before leaving, Vincent and Carmen give Eddie $8,000, his "cut" of their winnings.
In his semifinal match, Eddie forfeits the game and returns Vincent's money. Determined to win legitimately, Eddie faces Vincent in a private match, declaring, "I'm back!"
The film ends on the dramatic face-off between mentor and protégé.