The night of November 5th, 1982, pulsed with the familiar energy of a major Hollywood premiere. Klieg lights swept the iconic facade of Grauman's Chinese Theatre on Hollywood Boulevard, illuminating the throngs of fans held back by velvet ropes and the jostling gauntlet of press photographers and reporters lining the red carpet. Tonight, Paramount Pictures was rolling out '10 Things I Hate About You', and the anticipation, fueled largely by its star Alex Hayes, was palpable.
Luxury cars deposited Hollywood royalty and industry players onto the curb. The film's director John Hughes arrived, looking slightly nervous but hopeful. Alex's talented young co-stars, buzzing with excitement, navigated the press line, soaking in the glamour. Power players made their appearances: Paramount's Barry Diller and Michael Eisner, exuding executive confidence; CAA's Michael Ovitz and Ron Meyer, working the carpet with practiced ease, observing their client's latest unveiling. Mingling nearby were Alex's personal guests – his protective Aunt Nancy, along with friends Edward and Janet.
Then, fashionably last, a black limousine pulled up, sending a fresh wave of shouts and flashing bulbs through the crowd. The door opened, and Alex Hayes stepped out, looking sharp and composed in a tailored navy blue suit. He turned and offered his hand, helping Phoebe Cates emerge. She was stunning in a vibrant red dress, her smile dazzling under the intense lights. The crowd roared its approval as the couple, undeniably the main attraction, began their walk down the carpet, pausing for photos, radiating star power.
Amidst the clamor, as cameras flashed inches from their faces, Alex leaned close to Phoebe's ear, his voice masked by the surrounding noise. "You look incredibly hot in that dress," he murmured.
She tilted her head, a mischievous glint in her eyes, and whispered back in a low, sexy voice, "If you want, you can get me out of it later tonight."
Alex laughed, a genuine spark flashing between them. "Consider that a promise I intend to hold you to," he replied softly before they turned back to the cameras.
They moved efficiently through the press line, offering brief soundbites, before greeting their family and the CAA contingent near the theater entrance. Alex then spotted the Paramount chiefs.
"Barry, Michael," Alex greeted them warmly, shaking hands. "Thanks for coming."
"Wouldn't miss it, Alex," Barry Diller said, clapping him on the shoulder. "We're thrilled with the film."
"Indeed," added Michael Eisner. "A fantastic job. After our first collaboration, we certainly hope we can do more together in the future."
"Definitely," Alex agreed readily. "Do you have any new projects for me already? Keeping me busy?"
Barry and Eisner exchanged a quick glance. "Well," Barry said, choosing his words carefully, "we do have something we've been developing with you specifically in mind."
"And we hope to get you on board soon," Eisner added encouragingly.
Alex raised an eyebrow. "Did you contact CAA? Send anything over?"
"Well, we sent the initial pitch," Diller admitted, "but Nancy was rather firm that she wants you to have a proper rest after back-to-back shoots before looking at new material."
Alex glanced over at his aunt, who gave a subtle, satisfied nod. He smiled. Nancy was always looking out for him. He turned back to the executives.
"Well, gentlemen," Alex said diplomatically, "let's talk again once we see how this one performs first. Maybe wait for the opening weekend numbers?" He grinned playfully. "Who knows? Maybe it bombs, and you can get me cheaper."
Barry chuckled, playing along. "And maybe it's another huge success, Alex, and your price goes up again."
Alex laughed but didn't counter. The reality was, everyone there felt the film had potential. Diller and Eisner weren't just being polite; they, along with most of the executives who had seen the final cut, genuinely liked 10 Things I Hate About You and believed they had another Alex Hayes hit on their hands. As they headed into the opulent theater for the screening, the atmosphere was charged with optimism.
The lights dimmed inside the vast, ornate auditorium of Grauman's Chinese Theatre. A hush fell over the premiere audience – a mix of glamorous Hollywood insiders, anxious studio executives, critics with pens poised, invited guests, and a lucky few contest-winning fans. The buzz from the red carpet faded, replaced by the focused anticipation for Paramount's latest offering, 10 Things I Hate About You, starring the undeniably magnetic Alex Hayes.
As the opening credits rolled, whispers rustled through the seats. The film quickly introduced the world of Padua High School. Young Sarah, a teenager who won tickets from a radio contest, instantly recognized the social dynamics. She nudged her friend Mike as Cameron James, the earnest new kid, was immediately smitten by the popular Bianca Stratford. Michael Eckman's geeky warnings about Bianca being "vapid" and the overprotective father, Walter, drew knowing chuckles – parental rules were a universal teenage trial.
Then came Katarina "Kat" Stratford, Bianca's older sister. A murmur went through the crowd. Here was the "shrew," sharp-tongued and fiercely independent. Evelyn, a seasoned development executive sitting near the front, made a mental note – this character had potential, a welcome contrast to simpler teen archetypes. Many women in the audience felt an immediate connection to Kat's unapologetic honesty, her refusal to conform. When Walter laid down his impossible dating rule – Bianca could only date when Kat did – a wave of laughter mixed with groans filled the theater. The setup was clear, clever, and ripe for complications.
The arrival of Patrick Verona, played by Alex Hayes, caused a palpable stir. Leaning back with effortless cool, radiating that familiar "bad boy" charm but with an undercurrent of something deeper Alex always brought, he instantly commanded the screen. Sarah and Mike exchanged excited glances. When the scheme was hatched for Joey Donner to pay Patrick to date the "untouchable" Kat, the audience settled in, anticipating the clash.
Kat's initial rebuffs of Patrick's advances drew appreciative nods for her steadfastness, while Patrick's persistence, guided by intel from Michael and Cameron, elicited chuckles. Alex Hayes imbued Patrick with a layer of charm beneath the rough exterior that made his pursuit feel less like a transaction and more like a genuine, if unconventional, courtship.
The party scene shifted the energy. Kat letting loose, getting drunk – some in the audience shifted uncomfortably, others saw relatable vulnerability. Patrick stepping in to care for her, however, drew murmurs of approval. He wasn't just the hired gun. Evelyn noted the complexity – the script wasn't shying away from messy teen behavior. Kat's attempted kiss and Patrick pulling away created a ripple of surprise. Meanwhile, Bianca's dawning realization about Joey's superficiality and her subsequent kiss with the loyal Cameron earned cheers and applause – the audience was clearly rooting for the underdog.
Then came the moment that would define the film for many. Patrick Verona, bribed again by Joey, needed to win Kat back for the prom. The setup on the school bleachers, the marching band... anticipation built. As Alex Hayes, as Patrick, launched into Frankie Valli's "Can't Take My Eyes Off You," the theater filled with delighted surprise. He was performing – running, sliding, singing with infectious, heartfelt energy directly to Kat. Across the audience, faces lit up. Sarah found herself grinning, a wide, silly smile mirroring countless others. Even Mike, usually more reserved, was laughing, caught up in the sheer audacity and unexpected sweetness of the gesture. It was romantic, ridiculous, and utterly charming – Alex Hayes selling the moment completely. The applause at the end of the scene was loud and genuine.
The romance blossomed, the detention escape drew laughs, but Kat's suspicion about the prom added necessary tension. Her confession to Bianca about her past with Joey added depth, explaining her protective shell. When Bianca chose Cameron, and Kat agreed to go with Patrick, there was a sense of satisfaction – both sisters were taking control.
The prom night brought the inevitable confrontation. Joey's cruel revelation of the bet landed like a physical blow. A collective gasp went through the audience as Kat's face crumpled in heartbreak. Her tearful exit felt earned and painful. But the mood shifted immediately to righteous anger when Bianca, defending Cameron and her sister, punched Joey square in the face. The theater erupted in cheers and applause, a cathartic release. Bianca and Cameron's subsequent kiss felt triumphant.
The film moved towards its resolution. Bianca and Cameron finding happiness, Walter softening and allowing Kat her dream of Sarah Lawrence College. Then, the final classroom scene. Kat, reading her "10 Things I Hate About You" poem. The audience was rapt, silent. Her voice trembled, listing the things she despised, yet each barb was layered with undeniable affection for Patrick. It was raw, honest, and deeply moving. Evelyn found herself genuinely touched – a teen film with real emotional resonance.
The final moments: Patrick's surprise gift of the guitar, bought with Joey's money. His simple, earnest confession, and then, the kiss. A collective sigh, a palpable sense of release swept through the theater. Sarah felt her heart genuinely swoon, leaning slightly into Mike's shoulder. It was the perfect culmination, the payoff everyone had been waiting for.
As the credits rolled to enthusiastic applause, the verdict was clear. The blend of Shakespearean wit, relatable teen drama, moments of surprising depth, and the undeniable star power and chemistry of its leads, particularly Alex Hayes as the adored Patrick and his compelling dynamic with Kat, had won the audience over completely. They left the palace of Grauman's Chinese Theatre buzzing, convinced they'd just seen something special.