The Monday morning mood on the "Risky Business" set in Highland Park was subtly different. News of the weekend box office results had filtered through. While the crew focused on setting up the next shot, the actors gathered near the craft service table, discussing the numbers.
"Fast Times at Ridgemont High," despite the critical controversy, had landed solidly in 3rd place for its opening weekend. It was dwarfed by the continuing phenomenon of Spielberg's "E.T. the Extra-Terrestrial," which remained untouchable at #1 with a staggering $9.41 million, and Dolly Parton's musical comedy "The Best Little Whorehouse in Texas" holding strong at #2 with $6.15 million. Still, third place with over $5 million was a debut Universal couldn't ignore, even if executives remained cautious.
During a break, Rebecca De Mornay approached Alex, coffee cup in hand. Her expression was sympathetic. "So, third place is great, Alex, but... those reviews. Some of them were pretty rough. Are you disappointed?"
Alex shook his head, a calm resolve settling on his features. "Honestly? Not really. I learned early on I only truly listen to the normal audience. Critics have their place, but their reviews are secondary to audience opinion when it comes to whether a film connects." He took a sip of his own coffee. "Think about it – some of the greatest films in the past had mixed or even negative reviews when they first came out. But over time, they became classics because audiences kept finding them, kept loving them."
Paul Brickman, who had walked over to grab a bagel, overheard Alex's defense. He paused, looking at Alex with a challenging glint in his eye. "So, are you saying you think 'Fast Times' will be considered a classic someday, Alex?" His tone suggested he expected Alex to go back on his statement.
Alex met Brickman's gaze directly, his confidence unwavering. "Maybe it won't be a 'classic' in the traditional sense," he conceded thoughtfully. "But," he added with certainty, "it will definitely be a cult classic. People will be quoting Spicoli for years."
Brickman was visibly surprised by the sheer confidence of the prediction but kept silent, merely taking a bite of his bagel.
Joe Pantoliano jumped into the brief silence, ever the live wire. "Okay, Nostradamus," he said, gesturing between Alex and Brickman, "since you're calling shots on that flick, what do you think Risky Business's future will be then? How are the critics gonna treat us?"
Alex looked around at the group – Rebecca, Brickman, Pantoliano, maybe Bronson Pinchot and Curtis Armstrong nearby – all eyes now on him. The earlier humor faded from his expression, replaced by a quiet intensity. "Critics are unpredictable," he conceded calmly. "But what I can tell you is this..." He lightly patted the "Risky Business" script tucked under his arm. "I only commit to projects I believe have something important to say, something real. And I wouldn't be here, giving this everything I have, if I didn't believe wholeheartedly in this film."
His words, delivered with simple conviction, landed with weight. The lighthearted banter ceased. There were appreciative nods from Rebecca and Pantoliano. Brickman looked at Alex thoughtfully, perhaps seeing beyond the young star to the committed artist. The confidence wasn't cockiness now; it was belief in the work they were all doing together, a sentiment that resonated deeply as they prepared for the next scene.
*****
The first crucial test for "Fast Times at Ridgemont High" came with the weekday numbers following the opening weekend. In the next four days (Monday through Thursday), the film grossed an additional $4.24 million. This brought its total first-week collection (7 days) to $9.70 million. It was holding steady, suggesting audiences weren't being deterred.
The second weekend provided even clearer evidence. Facing new releases and continued critical scrutiny, "Fast Times" pulled in another $4.08million. Calculating the drop from its opening weekend ($5.46M), this represented a decline of only about 25.3% – a remarkably strong hold, especially for a teen comedy that had polarized critics. A drop below 40% was considered excellent by industry standards, indicating positive word-of-mouth and genuine audience engagement beyond the initial hype surrounding Alex and Phoebe.
In the subsequent four weekdays (the Monday-Thursday of its second week), the film added another $2.89 million to its tally.
By the end of its first two full weeks in release, "Fast Times at Ridgemont High" had accumulated a total gross of $16.67 million domestically.
Compared to its modest $4.5 million budget, the film was undeniably, unequivocally a financial hit. Whatever the critical debate, audiences – particularly teenagers – were connecting with the film's characters and R-rated honesty. Universal executives could breathe easier; the film had found its legs, proving Alex Hayes's drawing power yet again and hinting, perhaps, at the "cult classic" status he himself had predicted.
Bolstered by continued audience buzz, especially among teens and young adults, "Fast Times at Ridgemont High" demonstrated impressive staying power. In its third full week (covering the frame following its second weekend), it grossed another solid $5.38 million. This pushed its cumulative domestic total after three weeks past the twenty-million mark, reaching $22.05 million.
The strong performance continued, albeit with the expected gradual decline, into its fourth week. During its fourth full week in theaters, the film added $4.71 million to its coffers.
Taking its total North American box office gross after four weeks of release to $26.76 million, "Fast Times at Ridgemont High" had definitively silenced any doubts about its financial viability. Having grossed well over five times its $4.5 million budget within its first month, the film was not just a hit, but a certified moneymaker for Universal, proving the power of audience connection over critical division.
Industry analysts, looking at the strong holds and steady weekday numbers, confidently predicted that if the film maintained this impressive momentum, it would definitely cross the $40 million mark in North America alone.
It was another undeniable hit for Alex Hayes – his fourth consecutive hit film, further cementing his status as Hollywood's most reliable young star.