By the end of April 1983, Alex Hayes had completed his filming commitments for John Hughes's 'Sixteen Candles'. As winter finally loosened its grip on Chicago, Alex wrapped his role as Jake Ryan and prepared to head back to Los Angeles. This timing coincided with the winding down of the theatrical runs for most films released in the previous year, 1982. Box office charts were being finalized, painting a clear picture of the cinematic landscape Alex had navigated so successfully.
One film, however, refused to conform to typical release cycles. Steven Spielberg's 'E.T. the Extra-Terrestrial' wasn't just the biggest film of 1982; it was an unprecedented cultural phenomenon that was still running strong in theaters nearly a year after its June 1982 debut. Smashing records week after week, it had captured the hearts of audiences worldwide, becoming a merchandising juggernaut and surpassing 'Star Wars' to become the highest-grossing film of all time. Its gentle story of friendship and wonder resonated deeply, making phrases like "E.T. phone home" part of the global lexicon. By April 1983, it had amassed an astronomical $353 million domestically and $510 million worldwide, numbers that dwarfed everything else and were still climbing.
Against this extraordinary backdrop, the final box office results for other major 1982 releases solidified. For Alex Hayes, the year had been transformative, cementing his status as a top draw. His own hit, '10 Things I Hate About You', had also recently concluded its impressive run, finishing with a final domestic gross of $102 million and a strong international showing of $48 million, for a worldwide total of $150 million. Here's how the final rankings looked, according to industry reports compiling the full runs of films released in 1982:
1982 Domestic Box Office Top 10:
1.'E.T. the Extra-Terrestrial' - $353 million (still running)
2. 'Tootsie' - $177 million
3. 'An Officer and a Gentleman' - $127 million
4. 'Rocky III' - $125 million
5.'10 Things I Hate About You' - $102 million
6. 'Porky's' - $100 million
7. 'Star Trek II: The Wrath of Khan' - $79 million
8. '48 Hrs.' - $78.9 million
9. 'Poltergeist' - $76.5 million
10. 'The Best Little Whorehouse in Texas' - $69.7 million
Alex's critically acclaimed romantic comedy landed firmly at #5 domestically. His other 1982 release, 'Fast Times at Ridgemont High', finished its impressive run just outside the top tier, landing at #11 domestically with $63 million.
The worldwide picture told a similar story of success:
1982 Worldwide Box Office Top 10:
1. 'E.T. the Extra-Terrestrial' - $510 million (still running)
2. 'Rocky III' - $270 million
3. 'Tootsie' - $241 million
4. 'An Officer and a Gentleman' - $190 million
5. '10 Things I Hate About You' - $150 million
6. 'Porky's' - $135 million
7. 'Gandhi' - $127 million
8. 'First Blood' - $125 million
9. 'Poltergeist' - $121 million
10. 'Star Trek II: The Wrath of Khan'
Globally, '10 Things I Hate About You' again secured the #5 spot. 'Fast Times at Ridgemont High', with its strong international showing, also finished at #11 worldwide with $84 million.
*****
In the sleek conference room at the burgeoning Creative Artists Agency, the founding partners reviewed their portfolio. The conversation inevitably turned to their brightest, and perhaps most demanding, young star.
"Okay, next agenda item: Alex Hayes," Michael Ovitz stated, glancing at his notes.
Michael S. Rosenfeld, another co-founder known for his sharp business acumen, leaned forward, a crease of concern on his forehead. "Mike, we need to talk about the amount of leeway we're giving him. He's nineteen years old, dictating terms on percentage gross for 'Footloose', making his own decisions about script changes... and now this 'Sixteen Candles' thing. Taking a supporting role, essentially playing second fiddle in what amounts to a chick flick, right after landing at number four on the Quigley poll? It feels... unfocused. He's getting too much importance, too much control, too fast."
Ovitz listened calmly, steepling his fingers. "Michael, Alex Hayes is important. Look at those numbers," he gestured towards the box office reports they'd all seen. "He delivered two films last year, one Top 5 worldwide, the other just outside the Top 10. He is the biggest young star on the planet right now. That kind of bankability commands a certain level of treatment, a certain level of respect for his instincts. That's why Paramount agreed to the 'Footloose' deal."
Rosenfeld shifted. "Okay, the deals I understand, leverage is leverage. But 'Sixteen Candles'? A supporting part?"
Ovitz allowed a small, strategic smile. "Think of it this way. Alex has never had a failure. Five hits in a row now, counting '10 Things'. He feels creatively drawn to the Hughes script, wants to work with John again. Maybe it's a smart move, keeps him grounded, shows range. Or maybe," Ovitz added, his voice dropping slightly, "maybe it is a misstep. Maybe the film underperforms. If 'Sixteen Candles' fails, or even just disappoints relative to his usual numbers, maybe Alex learns a valuable lesson. Maybe next time, he listens a little more closely when we advise him on choosing lead roles in major vehicles." He let the implication hang – a failure could paradoxically increase their influence over his choices later. "Either way, we manage it."
The other partners considered Ovitz's pragmatic, slightly cynical take. Managing a superstar like Alex Hayes wasn't just about maximizing success; it was also about navigating their client's own ambitions and learning curves.
*****
Alex Hayes, wrapping up in Chicago, wasn't privy to the strategic discussions happening in CAA's conference room. He only knew that 1982 had been an incredible, whirlwind year. Having two films perform so powerfully – one landing squarely in the Top 5 globally, another just missing the Top 10, and being named the #4 Top Money Making Star by the Quigley poll – gave him the kind of industry clout and audience recognition that opened new doors. The success provided not just validation of his hard work, but leverage for the future projects he was eager to pursue.
As Alex reviewed the final 1982 box office reports, he felt a deep sense of satisfaction with the results. Landing a film in the Top 5 worldwide was a huge achievement. But he knew he still had further to climb. His ambition wasn't just to be among the top stars; it was to reach the absolute summit – to be the #1 box office star, to have the #1 film of the year. He didn't know how long that journey would take, how many more hits or strategic choices it would require, but the challenge thrilled him. It would be fun.
Around this same time, Warner Bros. officially finalized the summer release schedule. Alex's next film, the edgy coming-of-age story 'Risky Business', was locked in for a July 22, 1983 release date. The countdown to his next major cinematic unveiling had begun.