By July 1985, the final curtains had fallen on the theatrical runs of all films released in 1984, and the complete box office reports were in, painting a clear picture of the year's biggest cinematic triumphs. It was a year dominated by blockbusters, and Alex Hayes found himself, once again, a prominent figure in the industry's highest echelons.
Here's how the top films of 1984 stacked up:
1984 Domestic Box Office (USA & Canada):
1. Beverly Hills Cop: $234 million
2. Ghostbusters: $229 million
3. Indiana Jones and the Temple of Doom: $179 million
4. Gremlins: $153 million
5. Footloose: $128 million
6. The Breakfast Club: $103 million
7. The Karate Kid: $90 million
8. Police Academy: $81 million
9. Romancing the Stone: $76.5 million
10. Star Trek III: The Search for Spock: $76.4 million
1984 Worldwide Box Office:
1. Indiana Jones and the Temple of Doom: $333 million
2. Beverly Hills Cop: $316 million
3. Ghostbusters: $295 million
4. Grand Canyon: The Hidden Secrets: $239 million
5. Gremlins: $212 million
6. Footloose: $193 million
7. The Breakfast Club: $151 million
8. Police Academy: $149 million
9. Romancing the Stone: $115 million
10. The Karate Kid: $97 million
A notable entry on the worldwide list was Grand Canyon: The Hidden Secrets. This documentary, a non-fiction film about the majestic Grand Canyon, achieved remarkable global success, proving that compelling storytelling could resonate internationally, even without big-name stars or action-packed plots. Its presence among Hollywood's biggest blockbusters was a testament to its stunning visuals and broad appeal.
Also making an impact, though not on the top 10 lists above due to its lower budget and niche genre, was The Terminator. Released in October 1984, this sci-fi action thriller, starring Arnold Schwarzenegger and Linda Hamilton, had grossed approximately $78 million worldwide. Despite its relatively modest budget, it was a critical and commercial success, launching a major franchise. For Alex Hayes, it was one of his personal favorite films of 1984, a lean, gritty, and incredibly effective piece of filmmaking that he admired greatly.
Looking at the numbers, Alex Hayes had an exceptional year. He had two films, Footloose and The Breakfast Club, prominently featured in the top 10 for both domestic and worldwide box office. This was a rare and significant achievement, underscoring his unparalleled draw with audiences and his consistent ability to deliver commercial hits across different genres.
And the hits kept coming. Even as the 1984 books closed, his 1985 release, Catch Me If You Can, continued its phenomenal run. The film had just crossed the $150 million domestic gross mark and was still playing strongly in theaters, becoming Alex's highest-grossing film domestically to date. It was a clear indication that his transition into more mature roles was already proving to be a resounding success, solidifying his status as Hollywood's most bankable star.
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The aroma of fine dining hung in the air of the high-end Los Angeles restaurant where Alex Hayes and Oliver Stone had chosen to meet for lunch. It was a discreet, elegant setting, perfect for a private conversation.
Alex arrived first, taking a quiet booth where nobody could easily see them. A few minutes later, Oliver Stone entered, his gaze intense, a man who carried the weight of experience. They rose and shook hands, a firm, assessing grip exchanged between the two men.
"Oliver," Alex greeted, a respectful nod.
"Alex," Stone replied, his voice a gravelly tone that matched his thoughtful demeanor.
As they settled into their seats, a waiter approached. Oliver ordered first: "I'll have the steak, medium-rare, with a side of baked potatoes."
Alex turned to the waiter. "And I'll take the grilled salmon, please, with mashed potatoes and the seasonal vegetables."
As the waiter departed, leaving them to their conversation, Oliver leaned forward, his gaze direct. "So, Alex," he began, "my producers tell me you're interested in Platoon. I have to ask, why this film?"
Alex met his gaze, a quiet intensity in his own eyes. "It's a story that needs to be told, Oliver. And it resonates deeply with me. My father, he was a Navy SEAL, served in Vietnam. He rarely talked about it, but when he did, it wasn't the heroic narratives you often hear. He spoke of the moral implications, the sheer lack of clear objectives, and the devastating impact it had on the Vietnamese people, on American soldiers, and on our society back home. He made me understand that war isn't black and white; it's a thousand shades of gray, filled with impossible choices and lasting scars."
Oliver Stone listened, a slow nod of understanding. "That's a unique perspective. Many come to this material from a place of political idealism or historical curiosity. Your father's direct experience... that makes a difference. Tell me, then, your understanding of the three main characters—Chris, Barnes, and Elias. How do you see them?"
Alex paused, gathering his thoughts. "Chris, the naive newcomer, he embodies that initial idealism, the young American soldier arriving with certain beliefs, only to have them shattered by the horrors of war. He struggles to reconcile what he thought it would be with the brutal reality. Barnes, on the other hand, is the hardened veteran. He represents the brutal, cynical view of war as a necessary evil, a place where morality breaks down, and survival is paramount. He's what war can do to a man. And Elias... Elias is the most complex. He's the compassionate, yet deeply troubled, soldier. He seeks a balance between fighting the enemy and maintaining a sense of humanity amidst all the violence and madness. He's clinging to the idea that there's still good to be found, even in hell."
Oliver Stone leaned back, a flicker of satisfaction in his eyes. He recognized his own intentions, his own complexities, reflected in Alex's analysis. "That's a very clear understanding, Alex. A very clear understanding indeed."
Just then, the waiter arrived with their meals. "Here you go, gentlemen."
"Thank you," Alex said, offering a polite smile.
As they began to eat, Oliver picked up his steak knife. "You know, Alex, if you're serious about this, there will be intense training for the role. We're looking at filming in the forests of the Philippines. It's going to be physically demanding, grueling."
Alex took a bite of his salmon, unfazed. "I understand that, Oliver. And frankly, that's part of the appeal. It's the kind of immersive experience I'm looking for, to truly inhabit the role."
Oliver nodded, then hesitated, broaching a more sensitive subject. "Look, Alex, I need to be upfront with you. This isn't a studio tentpole. The producers... they won't be able to give you a big upfront salary. It's a passion project for many of us, and budgets are tight." He knew Alex's market value was astronomical, especially with his recent box office dominance. Most of Alex's films had been budgeted under $10 million, and he'd consistently opted for significant percentages of the gross rather than large upfront fees, a strategy that had made him incredibly wealthy.
Alex didn't miss a beat. "That's okay, Oliver. I'll star in it without a salary. I'll take a percentage of the gross."
Oliver felt surge of relief washing over him. He knew what that meant, what kind of belief and commitment it showed. He simply nodded, thinking that the next step would be for the agents and studios to hammer out the details. For Oliver himself, he was more than happy with Alex. His performance in Catch Me If You Can had demonstrated unequivocally that he could excel in more mature, complex roles beyond his high school fame.
Oliver raised his glass of wine, his gaze meeting Alex's. "Then I hope we will work together, Alex."
Alex raised his own glass, the crystal clinking softly. "Same here, Oliver. Same here."
They finished their lunch, the meeting concluding on a distinctly positive note.The next step was for their agents and studio to finalize the terms and secure a favorable contract.