Just as the finish line for principal photography on Risky Business was in sight, the collaborative energy that had largely defined the shoot began to fray. The source of the tension wasn't on set, but crackling down the phone lines from Los Angeles – a fundamental disagreement between director Paul Brickman and the executives at Warner Bros. over how the film should conclude.
Brickman, who had also penned the sharp, often cynical script, envisioned an ending that reflected the film's ambiguous moral tone. His preferred final scenes, according to the information filtering through the production grapevine, left the future of Joel Goodsen and Lana uncertain. Perhaps they meet again, but with an emotional distance, acknowledging the unlikelihood of their relationship lasting once Joel heads off to college. It was an ending that felt more aligned with the film's satirical edge, leaving the audience with something to ponder about the compromises Joel had made.
The studio, however, had a different perspective. Investing millions in a film starring one of Hollywood's fastest-rising young actor (Alex Hayes), Warner Bros. executives were pushing hard for a more upbeat, commercially palatable resolution. They wanted audiences leaving the theater feeling good. Their desired ending reportedly included clearer confirmation of Joel's acceptance into Princeton and a more explicitly hopeful note for Joel and Lana's relationship, softening the harsh realities of Lana's profession and Joel's choices. It was the safer bet, the ending designed for wider appeal.
The disagreement escalated beyond simple notes. Rumors circulated of heated long-distance arguments and a tense standoff. Brickman was digging in his heels, fiercely protective of his artistic vision, while the studio held the purse strings and final cut authority. The final days of shooting stretched under this cloud of uncertainty, with the crucial concluding scenes hanging in limbo.
Finally, with neither side willing to completely budge, someone suggested bringing in another voice. They decided to ask the film's star, Alex Hayes. His reputation as a screenwriter on other projects carried weight beyond just being the lead actor.
Alex listened patiently as both the director's and the studio's viewpoints were explained to him. He could see the artistic merit in Brickman's more challenging ending, the way it resonated with the film's darker themes. He could also understand the studio's desire for a more optimistic finish that rewarded the audience and Joel's journey.
"Honestly," Alex admitted after a moment's thought, "I'm not sure which is 'better.' They both work in different ways. Paul's ending feels very true to the script's tone, but I can see why the studio feels a more hopeful beat might land better commercially." He paused, considering the practicalities. "Look, we're talking about maybe one or two extra scenes, right? Compared to the whole budget, filming both versions wouldn't cost that much. Why don't we shoot Paul's ending and the studio's preferred ending?"
He saw the surprise on their faces and pressed on. "Then, you put them both in front of test audiences. See how real people react. Maybe one clearly resonates more than the other. Maybe the feedback gives you insight you don't have right now. Let the audience help decide."
It was a pragmatic, almost clinical solution, cutting through the creative deadlock. Brickman saw a path to potentially preserving his vision, at least for a screening. The studio representatives saw a data-driven approach that didn't rely solely on artistic arguments and ensured their preferred version was captured on film. After a moment of consideration, both the director and the studio contacts relayed back that they were okay with the decision. Alex's suggestion had provided a way forward, deferring the final, contentious choice until after they had more information. They would shoot two endings.
With the Risky Business shoot wrapped and the debate over its ending deferred until post-production and test screenings, Alex Hayes flew back to Los Angeles. The intense, often draining experience of filming Joel Goodsen was behind him, replaced now by the familiar machinery of movie promotion. Paramount Pictures was gearing up for the November 5th release of the high school movie Alex had starred in '10 Things I Hate About You'. Banking heavily on Alex's incredible run of hits and his recent surge in public fascination, the studio secured 1352 theaters for the opening, making it the biggest release of Alex's career to date.
Part of the promotional blitz inevitably involved hitting the talk show circuit, and there was no bigger stage in late 1982 than The Tonight Show Starring Johnny Carson. On a cool evening just days before the film's release, Alex found himself sitting backstage, waiting for Johnny Carson's call to the stage.
"...and joining us tonight," Johnny Carson's familiar voice came through the monitor, "a young man who has had quite a year. You know him from his hit movies, and recently you've probably read about his real-life heroics. He's a fine actor, and apparently, quite the martial artist. Please welcome Alex Hayes!"
The studio audience erupted. As Alex walked out onto the iconic set, shaking Carson's hand, the applause wasn't just polite; it was thunderous, rolling through the studio for what felt like an eternity, a wave of genuine enthusiasm and perhaps a touch of awe. Alex waved, smiled, and finally took his seat beside Carson's desk as the cheers gradually subsided.
"Welcome, Alex. That's quite a reception," Johnny said, gesturing towards the audience with a wry smile.
"Thank you, Mr. Carson," Alex replied, settling into the chair. "It's truly an honor to be here. I'm a huge fan. Watched you for years."
"Well, the feeling's mutual," Carson said smoothly. "We're all fans of yours. You've had an incredible string of successes. And reading about you... you're quite the multi-talented young man. Actor, screenwriter, fighter... is there anything you don't do?" he asked, leaning forward conspiratorially.
Alex laughed lightly. "Well, I wouldn't exactly call myself a screenwriter," he clarified. "I've worked closely with writers, guiding things, maybe helping shape the script until it matches the vision... but I haven't written one solo yet." He paused, thinking. "But," he added with a grin, "I'm a pretty good dancer. And maybe an above-average singer."
Carson's eyebrows shot up. "A dancer and a singer? Damn! Folks, we've got a genuine triple threat here!" The audience chuckled along with Johnny's assessment. "Who taught you all that?"
Alex's smile softened slightly. "My late mother, Katherine," he said quietly. "She loved music, loved dancing, loved the theater. She got me started on all of it."
Carson's demeanor shifted instantly, his usual wit replaced by gentle sincerity. "I'm sorry for your loss, Alex. I'm sure she'd be incredibly proud of everything you're accomplishing."
"Thank you, Mr. Carson. I hope so," Alex replied, genuinely touched.
After discussing the upcoming film, 10 Things I Hate About You, and sharing a humorous anecdote from the set, Carson leaned towards Alex as the interview neared its end. "You know, Alex, we mentioned your martial arts background, which everyone's been reading about. I suspect the audience here would really love to see just a little demonstration before you go, if you'd be up for it?"
A buzz went through the crowd. Alex looked momentarily surprised, then grinned. "Well, I'm maybe not dressed for it, but... sure, why not?"
He stood up, took off his suit jacket, and moved to a cleared space on the stage. Taking a moment to center himself, he then executed a series of stunningly fluid and powerful kicks. A crisp 360-degree turn kick, immediately followed by a higher, more complex 540 kick, and culminating in an astonishingly quick 720-degree double kick before landing perfectly balanced. He held the finish for a beat, then took a simple bow.
The audience exploded in cheers and applause again, amazed by the display of athleticism. Carson looked genuinely impressed. As Alex retrieved his jacket and returned to his seat, Johnny turned back to the camera.
"Wow! Folks, there you have it! Don't try that at home!" he quipped, getting another laugh. "Alex Hayes, ladies and gentlemen! His new movie is 10 Things I Hate About You, and it opens in theaters everywhere this Friday. Go see it! We'll be right back!" The band played Alex off as the audience continued to cheer.