The air in Eagle Lake, Texas, was unusually mild and damp in late December 1988. While the Northeast was shivering, Southeast Texas was experiencing a typical temperate winter, with afternoon temperatures in the mid-60s and a soft, humid breeze rolling off the Gulf. The scent of cedar and woodsmoke from the fireplace hung in the air, but the chill was gentle. For Alex Hayes, the quiet of the family house was a welcome break from the frantic energy of the last few months.
He had pushed the production of Ghost to stay on schedule, and the effort had paid off. On December 22, the final "wrap" was called on a Manhattan soundstage, finishing exactly on time.
On Christmas morning, the "most bankable man in Hollywood" was sitting on a comfortable, overstuffed sofa by the fireplace. His father, John Hayes, and his stepmother, Martha, sat nearby with coffee, enjoying a rare moment of family normalcy in the modest home. Alex watched as his half-sister, Sofia, tore into her gifts. While she had her share of typical favorites—like Sylvanian Families figurines, Barbie dolls, and Lil' Miss Makeup sets—Sofia had always had a special streak for electronics. The centerpiece of her Christmas was a large, rectangular box Alex had placed under the tree.
Sofia eagerly shredded the paper, and as the grey and red packaging was finally revealed, her eyes went wide. In the winter of 1988, the Nintendo Entertainment System (NES) was the most hunted toy in America. A massive retail shortage had made it nearly impossible to find, with stores sold out for weeks. However, Alex had managed to secure the Power Set, complete with the console, the Zapper light gun, and a copy of Super Mario Bros. 2. He had even tucked a copy of The Legend of Zelda—with its iconic gold-colored cartridge—into the side of the box.
Sofia let out a shriek that echoed through the house, dropping the box to throw her arms around Alex's neck. "Brother, I love you soooo much!" she said, squeezing him tight.
Alex laughed, pulling her into a hug. "I love you too, little sis. Just don't stay up all night playing it."
As the excitement settled, his father leaned back in his armchair, his expression turning slightly more serious. "It's good to have you home, son. But I know how your schedule works. When do you have to head back?"
"I'm staying through the holidays," Alex replied, reaching for a piece of toast Martha offered him. "I'll be heading out right after New Year's."
"Back to Los Angeles?" Martha asked.
"No," Alex said, shaking his head. "I've got to get back to the East Coast. We start filming Goodfellas soon, and Marty Scorsese has us primarily on location in New York and New Jersey."
"So, you'll be staying in a hotel again?" Martha asked, concerned.
Alex took a slow, hot sip of his coffee. "Actually, no. I was thinking of buying a house there. I think it would be a good investment; New York City is the financial capital of the world, after all. It's time I had a real home base on that side of the country."
John frowned slightly. "But Alex, aren't you taking on too much? Juggling acting while also directing... it's a massive weight. Are you sure you aren't overextending yourself?"
"Because of the Goodfellas start date, I had to finish Ghost on an incredibly tight schedule," Alex admitted. "It was a lot to handle at once. I've realized that for future projects, I need to plan everything much further in advance to give both roles the breathing room they deserve. But," he added with a smile, "the truth is, if you love your work, it never really feels like work."
"Well, as long as you love what you do," Martha said supportively.
Alex nodded, then shifted the subject. "How is the Katherine Hayes Foundation doing?"
The foundation had been established in his late mother's name, funding a variety of causes including veterans, children's welfare, women's rights, and support for struggling farmers.
"The foundation is going very well," John said, pride in his voice. "We have about $15 million in liquid funds right now."
Alex looked surprised. "Fifteen million? I mean, I donate at least $10 million a year to it, but with the grants we give out, it always seems like a drop in the bucket. There are always so many costs; I'm amazed there's that much left."
John smiled. "The people we helped always contribute back when they get on their feet. And honestly, Alex, knowing that you promote the foundation helps immensely with outside donations. We're also opening small-scale factories to provide jobs in high-unemployment areas. It's becoming self-sustaining."
Alex nodded in quiet satisfaction. Knowing he was contributing to something that changed lives was the best gift he could receive.
********
While Alex stayed in Texas, the industry waited for the year's final release. On December 30, without the fanfare of a red-carpet premiere, MGM released Sex, Lies, and Videotape into 104 theaters.
The story opens in Baton Rouge, where Ann Bishop Mullany (Andie MacDowell) lives in quiet, affluent desperation. She is comfortably married to John (Peter Gallagher), a successful lawyer, but she reveals to her therapist a deep repulsion toward her husband's touch. Unbeknownst to Ann, John is having an affair with her sister, Cynthia (Laura San Giacomo), a free-spirited artist. John rationalizes the affair by blaming Ann's "frigidity."
The status quo is disrupted by Graham Dalton (Alex Hayes), John's old college friend who has spent years drifting. While John is boisterous, Graham is guarded and observant. Though he has nothing in common with John, he and Ann form a quiet bond. After Graham moves into an apartment, Ann visits and finds stacks of videotapes labeled with women's names. Graham confesses he achieves gratification only by watching interviews he conducts with women about their sexual desires. Disturbed, Ann leaves.
The dynamic shifts when Cynthia visits Graham and agrees to be interviewed on tape. Later, Ann discovers Cynthia's pearl earring in her bedroom and deduces the affair. Furious, Ann goes to Graham's apartment, insistent on making a tape of her own. Though Graham initially objects, he eventually gives in.
Later, Ann demands a divorce from John and reveals she made a tape. John rushes to Graham's apartment, attacks him, and watches the footage. In the video, Ann confesses she has never felt sexual satisfaction and admits she has thought of Graham. The tape then shows Ann turning the camera on Graham. Forced to open up, Graham confesses he was a pathological liar whose behavior destroyed his past relationships. He uses the tapes to avoid real human connection. The tape ends as Ann kisses him and Graham turns off the power.
The film concludes with a few sharp resolutions. John meets Graham on the porch and admits he had sex with Graham's ex-girlfriend years ago. After John leaves, Graham destroys his camcorder and his tapes. While John faces a grim meeting with his boss and the sisters begin to reconcile, Ann joins Graham on his front porch. She predicts rain, to which he replies: "It is raining."
Critics hailed the film giving it a 96% positive rating. Vincent Canby of The New York Times wrote, "To watch Alex Hayes in Sex, Lies, and Videotape is to watch a man dismantle his own stardom. As Graham, Hayes is quiet, eerie, and strangely soulful. It is a performance of breathtaking stillness that confirms Hayes is a formidable artist." Other critics noted that while his career was built on blockbusters, his direction and performance here showed he was willing to risk everything on a talk-heavy, adult-oriented film.
However, the general public was more conflicted, giving the film a B+ CinemaScore. This tied with The Color of Money for the lowest grade of Alex's career, though it was considered understandable for such a clinical look at relationships. Despite the lack of hype, the film grossed $1.02 million in its opening weekend. With a per-theater average of nearly $10,000, the numbers were excellent for a limited release.
As the calendar turned to 1989,, The Princess Bride finally began to exit theaters following a strong final holiday surge. The film defied every initial expectation for a fantasy-romance. Driven by repeat viewings and a cultural "fairytale" status, it finished its domestic run with a staggering $185 million.
Internationally, the film was equally potent, bringing in $138 million from overseas territories. For a film produced on a modest $25 million budget, a global total of $323 million represented a massive win for the studio and solidified Alex's status as a global draw.
While The Princess Bride was taking its final bow, Rain Man was still in the prime of its box office life. By the first week of January, the film had become an unstoppable cultural phenomenon. It had officially grossed $171 million domestically and $130 million internationally.
With a current global total of $301 million , the drama was on track to become one of the highest-grossing R-rated dramas in history. The film's "legs" were the talk of the trades, proving that audiences were hungry for sophisticated, character-driven stories.
Meanwhile, the experimental gamble Sex, Lies, and Videotape continued its steady, focused run. MGM chose to keep the film in its original 104 theaters, resisting the urge to over-expand and risk "diluting" the prestige aura surrounding the project.
The strategy paid off. In its first full week of 1989, the film collected $1.9 million. For an adult-oriented "talking film" playing on just over a hundred screens, the per-theater average remained incredibly high. The B+ CinemaScore hadn't dampened the curiosity of the art-house crowd, who were flocking to see the film.