The holiday season of 1983 was approaching. Before heading to Eagle Lake for Christmas, Alex Hayes scheduled one more crucial meeting at the CAA headquarters in Los Angeles. He felt a growing desire to take more control over his projects and wanted to finalize his next step. In the familiar conference room waited Michael Ovitz, Ron Meyer, and Nancy Jones. Joining them, at Alex's invitation, was director John Hughes.
After brief greetings, Hughes leaned forward, clearly enthusiastic. "So, Alex and I have been talking about a new idea," he began. "It's a departure from 'Sixteen Candles' in tone, more character-focused. Simple concept: five high school kids, different cliques, stuck together in Saturday detention. They talk, they argue, they figure things out about each other, and themselves. It's a contained story, dialogue-driven."
Ovitz glanced at Hughes, intrigued. "And the scale?"
"Small," Hughes confirmed. "Very small. I think we can bring it in for a million dollars, all-in. Cast, crew, location – everything."
Alex, who had already read the script Hughes had given him privately, nodded. "It's a fantastic piece of writing, John. Really gets inside their heads." He took a breath, then looked directly at his agents. "And I want to produce it."
The statement landed with quiet force. Ovitz and Meyer looked genuinely surprised, exchanging quick glances. Nancy offered a subtle, almost imperceptible nod – she was in the loop.
"Produce it?" Meyer repeated, leaning forward. "Alex, hold on. Producing? That's a whole different ballgame. It takes time, focus... are you sure you want to divert energy from your acting career right now, especially with 'Footloose' in post-production and needing your attention soon?"
Ovitz picked up the thread, his tone measured but serious. "And the optics, Alex. A star your age bankrolling his own film... it sets a precedent. Studios might see it as you trying to circumvent the system, could make future negotiations more complex. Plus," Ovitz added, meeting Alex's gaze directly, "what if it doesn't work? The financial risk is small for you now, yes, but if it fails critically or commercially, the failure reflects directly on you as a producer, not just the film itself. It's a big risk to your momentum beyond the million dollars. Are you sure this is the right time for that?"
Nancy interjected softly, "Michael, Ron, we've discussed the potential downsides. Alex understands them."
Alex leaned forward himself, meeting their concerns head-on. "I appreciate the caution, I really do. And I know it's unusual. But I believe in this script, deeply. And I believe in John's ability to direct it. Yes, there are risks, but frankly, commercially, my name attached probably makes it profitable even if critics hate it. But more than that, it's a story worth telling." He looked at Hughes. "It feels important."
Hughes added his weight. "This script... I have more confidence in this than anything I've done. It's honest." His recent track record as the writer of 'Mr. Mom' and 'National Lampoon's Vacation', plus directing the hit 'Sixteen Candles', lent credence to his conviction.
Ovitz and Meyer considered this. The financial exposure was minimal for Alex now. Hughes was hot. Plus, Molly Ringwald and Anthony Michael Hall were already keen based on early talks, reuniting key elements of the successful 'Sixteen Candles' team. Commercially, it looked strong, even if the producing credit was unconventional. They saw Alex's determination was unwavering.
"Okay," Ovitz finally said, accepting the inevitable. "If you're set on this, Alex, we won't stand in your way. But we strongly advise careful oversight." He paused. "You mentioned a production company?"
"Yes," Alex confirmed. "Hayes Productions. It's already incorporated."
"Alright," Meyer conceded. "What do you need from CAA?"
"Support," Alex stated clearly. "Hayes Productions and John will handle the financing. We need CAA to help assemble the best crew possible – DP, line producer, department heads. Your network."
"Understood," Ovitz said. "And the financing?"
"Simple," Alex outlined. "John's putting in two hundred thousand. Hayes Productions covers the remaining eight hundred thousand."
Ovitz and Meyer exchanged a final look. The decision was made, the star was committed, and the financial risk was minimal compared to the potential upside.
"Alright," Ovitz said decisively. "We'll proceed. CAA will provide full agency support for crewing." He looked towards Hughes. "And this script... does it have a working title yet, John?"
Hughes grinned, finally able to name the project they'd just greenlit. "It does. It's called 'The Breakfast Club'."
Ovitz nodded slowly, considering the name. 'The Breakfast Club'. "Okay then," Ovitz declared, turning back to the business at hand. "Let's get the paperwork started."
Contracts were drawn up quickly between Hayes Productions, John Hughes, and CAA (acting in their agency capacity). Before leaving for his family Christmas in Texas, Alex Hayes wasn't just Hollywood's hottest young actor; he was now officially, at age twenty, a movie producer with his first project, 'The Breakfast Club', formally underway.
Okay, here is the chapter describing Alex and Diane's flight to Texas for Christmas 1983, including the Golden Globe nomination news and their conversation.
*******
December 16th, 1983.
Alex Hayes settled into a spacious business class seat on a flight bound for Houston. Christmas was approaching, and he was heading home to Eagle Lake. Beside him, settling in for the flight, was Diane Lane.
This year, Diane was joining the Hayes family festivities. Her own parents were long separated, and complicated family dynamics made holidays tricky. She wasn't currently speaking with her mother, and her father had his own separate family and life. When Alex invited her to spend Christmas in Texas with his family, she had gratefully accepted, touched by the offer, even if nervous about meeting them all.
As the plane reached cruising altitude, Diane unfolded a copy of Variety she'd picked up at the airport. Her eyes scanned the industry news, "Alex, look at this," she said, holding the paper out so he could see.
There it was – the official announcement of the Golden Globe nominations. And under the category Best Performance by an Actor in a Motion Picture – Musical or Comedy, listed for his role in 'Risky Business', was Alex Hayes.
Alex nodded, glancing at the familiar list in print. "Yeah, Nancy called me about it this morning," he acknowledged. "It's still pretty wild seeing it there."
"You're the youngest nominee in the category this year," Diane pointed out, reading further. The other nominees were formidable: Woody Allen for 'Zelig', Eddie Murphy for 'Trading Places', Mandy Patinkin for 'Yentl', and Michael Caine, for 'Educating Rita'. Being listed alongside such established talents was a significant honor.
Diane lowered the paper, looking at him with open admiration. "Sometimes," she admitted with a half-smile, "I'm so envious of your career right now. Everything you touch turns to gold."
Alex chuckled, reaching over to take her hand. "You'll have to join the queue," he joked lightly, though he knew there was truth behind the humor. Most actors his age, or any age, would give anything to be in his position – hit films, critical recognition, industry buzz.
Diane squeezed his hand, her expression turning more serious. "Okay, different topic. Your family... are they going to like me? I'm a little nervous about meeting everyone."
Alex turned fully towards her, his gaze warm and reassuring. "Diane, they will absolutely like you," he said confidently. "Because you already meet the most necessary qualification."
She looked at him quizzically. "What's that?"
"That I like you," Alex answered simply, smiling. "A lot."
Diane's nervousness seemed to melt away, replaced by a soft smile. The reassurance, delivered with his characteristic sincerity, was exactly what she needed to hear as they flew towards Texas and the prospect of a family Christmas, together.