By mid-September 1982, Fast Times at Ridgemont High had settled into the comfortable rhythm of a certified hit. After an explosive first month that saw it gross nearly $27 million against a $4.5 million budget, the film continued to draw audiences, albeit at a naturally declining pace as it entered its sixth week. The industry watched with satisfaction; it had proven its legs. In its fifth week, it pulled in a respectable $4.14 million. The following week, its sixth, saw a further slide to $3.83 million. This was the expected trajectory – a successful film beginning its gradual fade from the top of the charts. By the end of its sixth week, its cumulative domestic gross stood at an impressive $34.73 million, already a massive success for Universal.
Then, on Thursday, September 16th, everything changed. News bulletins began flashing across television screens, first locally in Chicago, then rapidly spreading nationwide. Alex Hayes, the burgeoning movie star currently filming Risky Business had reportedly intervened in a violent armed robbery, subduing multiple assailants using martial arts. The story, complete with dramatic security footage, was electrifying. CAA's swift, calculated release of Alex's extensive martial arts background added fuel to the fire, framing him not just as lucky, but as genuinely capable – a real-life hero.
The effect on Fast Times at Ridgemont High's box office was instantaneous and unprecedented. The public fascination with Alex Hayes, already high, reached fever pitch. People weren't just talking about his movies; they were talking about him. And they wanted to see him on screen.
That weekend – Friday, September 17th to Sunday, September 19th – the film didn't just halt its decline; it reversed it with stunning force. Ticket sales surged as audiences, captivated by the news reports, flocked to theaters. The film grossed an incredible $5.67 million over the three-day period. To put that in perspective, it was significantly more than the film had earned even on its already strong opening weekend six weeks prior. It was lightning striking twice, fueled by real-world drama.
The momentum didn't stop there. The story continued to dominate entertainment news into the following week. In the next four days (Monday, September 20th to Thursday, September 23rd), Fast Times added another $4.38 million to its earnings, maintaining a level of business usually seen much earlier in a film's run.
By the end of its seventh week, fueled by the unexpected publicity boost, Fast Times at Ridgemont High's total domestic gross had soared past the $40 million mark, reaching $44.78 million. The incident in Chicago had given the film an extraordinary second wind, transforming it from a solid hit into a super hit and pushing Alex Hayes's star into an even brighter spotlight.
Naturally, the incredible box office surge driven by the intense media focus on Alex Hayes couldn't last forever. As the news cycle moved on, the eighth week of release for Fast Times at Ridgemont High saw a return to more typical box office patterns, albeit still at a high level thanks to the film's boosted profile.
The intense hype cooled slightly, and the weekend (the eighth weekend of its run) saw collections normalize somewhat, bringing in $3.31 million. While a significant drop from the previous weekend's extraordinary numbers, this was still a very healthy gross for a film two months into its release.
The following four weekdays added $2.24 million to the week's total.
This performance pushed the film across a significant threshold. The cumulative domestic gross for Fast Times at Ridgemont High now stood at an impressive $50.33 million.
Crossing the $50 million mark was a major milestone, cementing the film as one of the year's biggest successes. For Universal Pictures, it represented an phenomenal return on investment – the film had now grossed more than 11 times its modest $4.5 million budget, proving once again the combined power of a film connecting with its audience and the undeniable, if sometimes unpredictable, influence of Alex Hayes's public profile.
As September gave way to October, the extraordinary surge that had propelled Fast Times at Ridgemont High past the $50 million mark began to inevitably subside. The sensationalism surrounding the Chicago incident faded from the front pages, and the film's box office performance settled back into a more predictable pattern, albeit from a much higher base. In its ninth week of release (the first week of October), the film grossed $2.93 million domestically – a respectable figure, but a clear indication that the second wind was losing force.
Recognizing the shifting momentum, Universal Pictures began reducing the film's footprint, consolidating its run into fewer locations. The theater count dropped significantly, down to just about 400 screens nationwide. While the film had already achieved massive success, industry analysts and studio executives were now watching closely to see how long it could hold on in these remaining theaters. Its cumulative total now stood at $53.26 million. The conversation shifted: could the film leg it out further? Was there a real possibility of crossing the $60 million mark domestically? It would depend entirely on its staying power over the coming weeks.
Meanwhile, back in Chicago, the intense schedule for Risky Business was finally winding down. Principal photography was almost complete. The cast and crew were nearing the finish line on what felt like a unique and potentially groundbreaking film. Alex, having poured himself into the role of Joel Goodsen, felt a sense of accomplishment, despite the demanding nature of the shoot.
But just as the end was in sight, a significant problem emerged concerning the film's climax. Disagreements flared up between the studio executives back in Hollywood and the film's director, Paul Brickman. Reports trickled down to the set about clashing visions for how the film should end. The studio, perhaps nervous about the film's edgy tone or seeking a more conventional resolution, was apparently pushing for changes, while the director was fiercely protective of his original, more ambiguous ending. Heads were locking, voices were reportedly being raised in meetings and a cloud of uncertainty settled over the final days of shooting. The smooth wrap party everyone had been anticipating suddenly seemed less certain.