On March 27, 1986, the premiere of 'Say Anything…' was held at the Cinerama Dome movie theater in Los Angeles.
In the darkened theater, a hushed anticipation filled the air. The crowd of industry insiders, critics, and excited fans leaned forward in their seats, their faces illuminated by the faint glow of the exit signs. All eyes were on the blank silver screen, awaiting the first images of the film. The projector hummed to life, and the iconic mountain peak of the Paramount Pictures logo emerged, its stars glistening against a deep blue sky. As the familiar music swelled and then faded, the screen went black for a brief moment before the words "A Cameron Crowe Film" appeared. This dissolved, and then the screen was once again illuminated with the movie's title: 'Say Anything...'
At the end of senior year of high school, noble underachiever Lloyd Dobler becomes smitten with valedictorian Diane Court and plans to ask her out, even though they belong to different social groups. He is introduced as a sweet, lovable teenager with high optimism.
Lloyd's parents are stationed in Germany in the U.S. Army, so he lives with his sister, Constance, a single mother, and has no plans yet for his future.
Diane comes from a sheltered academic upbringing, living with her doting, divorced father, Jim, who owns the retirement home where she works. She will take up a prestigious fellowship in England at the end of the summer.
Lloyd offers to take Diane to their graduation party. She agrees, to everyone's surprise. Their next "date" is a dinner at Diane's, where Lloyd fails to impress Jim. Internal Revenue Service (IRS) agents arrive unexpectedly to inform Jim that he is under scrutiny for tax fraud.
Diane introduces Lloyd to the retirement home residents, and he teaches her to drive her manual transmission Ford Tempo, her graduation gift.
They grow closer and have sex, which concerns her father. The sex scene is not vulgar, but it is also not sophisticated. They are two teenagers having sex for the first time; there is awkwardness, but also tenderness.
Jim urges Diane to break up with Lloyd, feeling he is not an appropriate match, and suggests she give him a pen as a parting gift.
Worried about her father, Diane tells Lloyd she wants to stop seeing him and concentrate on her studies, giving him the pen. Devastated, he seeks advice from his best friend, Corey, a musician who has never gotten over her unfaithful ex-boyfriend, Joe. She tells Lloyd to "be a man," because it takes more to be a "man" than just being a "guy." Meanwhile, Jim discovers his credit cards are declined as the investigation continues.
On a boombox at dawn, Lloyd stands under Diane's open bedroom window and plays "In Your Eyes" by Peter Gabriel, the song that played when they had sex.
Cameron Crowe and Alex struggled to find the correct song for the boombox scene. Alex heard it playing on the radio; it had just been released in February 1986 by Peter Gabriel. They managed to get the copyright at the last minute and included it in the film.
Diane meets with an IRS investigator, who says they have evidence incriminating Jim with embezzling funds from his retirement home residents. He suggests she accept the fellowship, as matters with her father will worsen.
Diane finds the cash concealed at home and confronts Jim, who tells her he took it to give her financial independence. Jim feels justified in doing so, as he provided better care for his residents than their families did.
Distraught, she visits Lloyd at his kickboxing gym. She says she needs him and loves him, but he asks, "Are you here because you need someone or you need me?"
There is a brief silence after this question; everyone is thinking she may say she needs him. But before she can answer, Lloyd says, "Forget it. I don't care," and kisses her.
All the girls and women in the theater collectively sigh at that. This moment beautifully demonstrates that Lloyd's love for her is completely unconditional.
At the end of the summer, Jim is incarcerated on a nine-month sentence after accepting a plea deal. Lloyd visits him at the prison, saying he is accompanying Diane to England. Jim reacts angrily when Lloyd gives him a letter from Diane, but she arrives to say goodbye, and they embrace.
Diane gives Jim the pen she had given Lloyd, asking him to write to her in England. Lloyd supports and comforts Diane, who is afraid of flying, on their flight. As the final scene played out the screen faded to black, and the credits began to roll.
The applause that followed was not a thunderous roar, but a long, warm, and sincere tribute to the film they had just seen. The cast and crew, including Alex, knew it was a good film, but its box office fate remained unknown. They congratulated one another, a quiet confidence settling among them.
As the theater lights came up, Alex just kept his eyes on the now blank screen, lost in thought. Mia gently squeezed his hand.
"What?" she asked softly, looking at him with a tender expression. "What are you thinking?"
Alex shook his head and chuckled softly. "It may sound silly," he said, "but seeing it on the screen really drove home the idea that I'm ending my high school phase in film. I suddenly felt so nostalgic."
Mia nodded, her expression filled with understanding. She knew exactly what he meant. This series of "high school films" hadn't just made him a star; they had made him one of the biggest and most bankable names in Hollywood. No actor before him had ever achieved this level of stardom before even turning 23.
"Any regrets?" Mia asked softly.
Alex shook his head. "No," he said, his voice filled with a calm certainty. "Life moves on, and so does my career. Whatever happens from now on is a new challenge, and I'm kind of looking forward to it."
As they stood there, lost in their own world, Robert Downey Jr. and Sarah Jessica Parker approached.
"Hey, Alex," Robert said, his voice low. "You want to stick around for the interviews?"
Alex glanced at his watch and shook his head. "Nah, I'm beat. And I've got a flight to catch tomorrow for Chicago."
"Good then," Robert replied with a grin, "Sarah also doesn't want to stay. Let's get out of here together."
"Just let me say a quick word to Cameron Crowe," Alex said, turning toward the director.
Mia gently stopped him, squeezing his arm. "I already told him we were heading out," she said. "He understands. Let's just go."
Alex looked at her and smiled. He leaned down and kissed her on the side of her temple. "That's my girl," he murmured.
Alex turned to Robert and tossed him his car keys. "You drive," he said with a tired grin.
Robert caught the keys and let out a low whistle. "Man, you must be really beat," he said, shaking his head. "You've never let anybody drive your car—and that too, your Ford Mustang."
Everyone laughed, and together, they left the premiere.
*******
It was Saturday, March 29, 1986. Inside the polished, high-rise offices of Paramount Pictures, Frank Mancuso Sr., the Chairman and CEO, sat at his desk, a stack of early reports and newspaper clippings pertaining to Say Anything... spread out before him. He turned his attention to the critics' early verdicts.
Here's what the top critics were saying:
Roger Ebert, The Chicago Sun-Times:
"Cameron Crowe's Say Anything... is not merely a teen romance; it's a poignant, honest look at the exhilarating, terrifying precipice between youth and adulthood. Alex Hayes, fresh off his Oscar triumphs, delivers a performance as Lloyd Dobler that is nothing short of captivating. His relentless, almost stubborn optimism, grounded in a desire to truly see Diane Court, played with remarkable depth by Mia Sara, is the beating heart of this film. Their chemistry is incandescent, a believable, tender spark that feels utterly real. Crowe directs with a light touch, allowing the performances and the genuine emotion to shine through, creating moments that resonate long after the credits roll. This is a film that dares to take young love seriously."
Janet Maslin, The New York Times:
"With Say Anything..., Cameron Crowe solidifies his voice as a storyteller attuned to the nuances of young adult experience. The film, a delicate balance of humor and heartfelt drama, navigates the complexities of first love and familial expectation with uncommon grace. Alex Hayes, as the earnest Lloyd Dobler, showcases a charisma that goes beyond mere star power; he imbues Lloyd with a hopeful, almost defiant, spirit that is infectious. Mia Sara, his luminous counterpart, anchors the narrative with a vulnerability and intelligence that makes their onscreen dynamic utterly compelling. Their connection feels earned, a testament to both their performances and Mr. Crowe's empathetic direction."
Gene Siskel, The Chicago Tribune:
"Say Anything... is a triumph of character and authenticity. Alex Hayes proves that his recent Oscar wins were no fluke, embodying Lloyd Dobler with an irresistible blend of sincerity and quiet determination. His unwavering optimism, even in the face of cynicism and social divides, is genuinely inspiring. The film's greatest strength, however, lies in the utterly believable and electric chemistry between Hayes and Mia Sara. She is simply radiant as Diane Court, and together they craft a relationship that feels less like a movie romance and more like real life. Cameron Crowe's direction is masterful, giving the material room to breathe and allowing his talented young cast to truly shine."
Peter Travers, Rolling Stone:
"Just when you thought the 'teen movie' genre couldn't get any smarter, along comes Cameron Crowe's Say Anything.... This film bypasses all the usual clichés, offering instead a fiercely honest and deeply romantic story. Alex Hayes, the prodigy who just swept the Oscars, delivers another standout performance as Lloyd Dobler, a character whose boundless optimism makes him utterly unforgettable. He and Mia Sara, who is fantastic as the brilliant Diane, share a chemistry that is palpable and true. Crowe's directing captures the anxieties and excitements of youth with a rare authenticity, making Say Anything... a film that speaks directly to anyone who remembers what it feels like to fall in love for the first time."
Frank Mancuso Sr. pushed his spectacles up his nose, a faint smile touching his lips. "Well," he murmured, "it certainly seems the critics are charmed."
And indeed they were. The report showed that 95 percent of critics gave the film a positive rating. While not every review was a glowing review, the overwhelming majority found it to be a good-to-excellent film.
The news was even better from the public; audiences had given 'Say Anything…' a coveted 'A' rating, a sign that the film was beloved by both critics and moviegoers.
This reception was translating directly to box office success. The film had grossed $8.01 million on its opening day, including preview shows. While it was slightly less than the $8.11 million earned by Ferris Bueller's Day Off, 'Say Anything…' had achieved that number despite being released in fewer theaters. This was a clear sign of Alex Hayes's star power and the film's strong word-of-mouth. Frank Mancuso was certain Say Anything... was going to be another hit. He gave a firm instruction to his executives: get the rights to Alex's next film, whatever it takes.
*******
The film grossed $8.18 million on Saturday and a very strong $7.51 million on Sunday, bringing its total opening weekend box office to $23.7 million.
With that impressive number, it occupied the top spot of the weekend box office, dethroning the previous weekend's champion, Police Academy 3: Back in Training.