In Hollywood, rumors are the lifeblood of the tabloid business, but the news that Alex Hayes would direct Ghost was the biggest story in town. By Monday morning, every major agency was scrambling to verify the deal, and trade publications shoved all other news aside to focus on the rise of the new filmmaker.
The sensation was absolute. While some critics questioned the move, the industry was floored by the deal's financial structure.
VARIETY led the charge with a headline that read:
"ALEX HAYES TO HELM PARAMOUNT'S 'GHOST' IN HISTORIC ZERO-DOLLAR DEAL."
THE HOLLYWOOD REPORTER focused on the massive personal risk:
"A SPECTRAL STAKE: Alex Hayes Gambles Entire Salary on Directorial Debut."
Meanwhile, the LOS ANGELES TIMES analyzed the studio's wager:
"THE MIDAS TOUCH MOVES BEHIND THE CAMERA: Why Paramount is Betting $20 Million on Alex Hayes."
The town was divided: was this a stroke of genius or an act of supreme arrogance on Alex's part?
********
While the press obsessed over his directorial future, Alex made another power move in the final week of August by signing on for Martin Scorsese's Goodfellas. The move was strictly about prestige. Alex accepted a $2 million upfront salary—a significant pay cut from his usual rate—but the deal included a 10 percent share of the global box-office gross, mirroring the terms taken by Scorsese and Robert De Niro.
Though their backend points weren't as substantial as Alex's, neither man complained. They understood the "Hayes Effect." Having Alex Hayes in the credits meant the potential box-office floor was significantly higher. A smaller percentage of a massive hit meant a bigger payout for everyone involved.
With casting for Goodfellas left to Scorsese, Alex focused on the pre-production of Ghost. The search for the lead role of Molly was a calculated publicity stunt. Even though Alex knew Demi Moore was the right choice, he insisted on a wide, public casting call. By inviting Hollywood's biggest names to audition, he kept the movie in the headlines daily. Every major actress in town was seen entering the Hayes Productions offices, making it the most sought-after role in the industry.
For the role of Oda Mae Brown, the studio pushed for "safe" comedians, but Alex remained firm on Whoopi Goldberg. By August 1988, Whoopi's career was in a difficult spot. After her Oscar-nominated debut in The Color Purple (1985), she had starred in a string of commercial flops like Jumpin' Jack Flash and Fatal Beauty. The studio viewed her as a box-office risk, but Alex knew she alone could balance the film's comedy with its spiritual heart.
In late August, a hurdle emerged during the casting process at Hayes Productions. Paula sat across from Alex, reviewing the latest reports.
"Alex, we have a problem with Demi Moore," Paula said. "She just delivered her daughter, Rumer, in mid-August—less than two weeks ago. The studio is worried about the insurance risk. They don't think she'll be physically ready to work by the time we start filming."
Alex didn't look up from his storyboards. "Tell the studio to breathe. Most of her scenes are indoors in controlled environments. We can build a schedule around her. Physiologically, a standard recovery is about six weeks. If we start shooting in early October, she'll be ready."
He finally set his pen down, meeting Paula's gaze. "I control the clock. We can shoot her close-ups first and provide a private, comfortable space on set. Demi has a vulnerability right now as a new mother that is perfect for Molly. We won't find that anywhere else."
"And if she still rejects the offer?" Paula asked.
Alex looked at her pragmatically. "She hasn't reached that tier where she is indispensable yet. If she isn't ready by October, we move to the next name on the list."
Paula understood. In Hollywood, only a handful of names were truly irreplaceable—icons like Sylvester Stallone, Harrison Ford, Eddie Murphy, or Alex Hayes himself. Demi Moore was not on that list yet.
************
Across town at CAA, Demi Moore sat with her husband Bruce Willis. Her agent, Ron Meyer, slid the script across the table.
Demi's career had been a steady climb; she had transitioned from the soap opera General Hospital to the big screen with Choices (1981) and Blame It on Rio (1984). She eventually became a staple of the "Brat Pack" with St. Elmo's Fire (1985) and About Last Night... (1986). But she still needed a definitive, adult hit to cement her status.
"It's the lead, Demi," Ron said. "Opposite the biggest star in the world."
Bruce Willis, whose career had just exploded thanks to the Hayes-produced Die Hard, looked concerned. "Wait a minute, Ron. Didn't Michael Ovitz reject this script? I heard he thought it was a loser—that this ghost story wasn't bankable."
Ron Meyer nodded slightly. "Ovitz rejected the original draft, Bruce. But Alex took a red pen to it. He overhauled the entire thing, adding humor and heart that weren't there before. It's a completely different animal now."
Bruce wasn't convinced. He leaned forward, his brow furrowed. "But isn't he a novice director? He's never stepped behind the camera before. He may have had great success as an actor—the biggest in the world, sure—but that doesn't mean he won't fail as a director. If he slips, he takes the whole cast down with him."
Ron looked at Bruce, reading the subtext in his voice. He knew exactly what Bruce was doing. This wasn't just about professional skepticism; Bruce was being protective. He didn't want Demi returning to work so soon after delivery. He wanted her home with baby Rumer, and he was using Alex's lack of experience as a shield.
Ron turned his gaze to Demi, ignoring Bruce's glare for a moment. "Bruce is right, Demi. There is a risk. Alex could fail as a director. It's his first time out." Ron paused, letting the weight of the statement hang in the air before leaning in. "But imagine if he succeeds. If this movie hits the way his others have, your career changes overnight. This isn't just another role; it pushes you into the front line of the A-list tier. You won't just be 'part of the pack' anymore. You'll be the star."
Demi Moore looked at the script, then at Bruce, who remained silent but tense. She could feel the exhaustion of new motherhood, but she could also feel the undeniable pull of the opportunity. Alex was offering her a path to the top, under conditions that actually respected her health and well-being.
After a long moment, Demi took a breath and looked up. "You know what? Let's do it. Let's bet that Alex succeeds again."
Bruce didn't say anything. He knew it would be selfish to stop her when she was standing on the precipice of the biggest role of her career. He simply squeezed her hand in support.
With that, Demi Moore officially joined the film. A few days later, Whoopi Goldberg also joined the cast.
*********
As the production wheels for Ghost began to turn, the release date for Alex's other project, Rain Man, was finalized: November 4, 1988.
Paramount Pictures, sensing they had something more than just a standard drama, decided to go all-in. They announced a massive rollout for November 4 across more than 2,000 theaters—a staggering number for a character-driven film. It was the studio's premier "prestige project," positioned carefully to dominate both the winter box office and the upcoming Oscar race.
The industry buzz suggested that the studio saw the potential for a rare "double threat": a film that could win the Best Picture statue while also becoming a commercial blockbuster.
However, the biggest surprise for Alex in September came from a phone call with Paula.
"Alex, you're not going to believe this," Paula said, her voice sounding somewhere between impressed and skeptical. "Steven Soderbergh just called. He's finished."
Alex was confused for a moment. "Finished? What do you mean, finished?"
"I mean he has completed the final cut," Paula confirmed. "Post-production—the editing, the sound mix, the color timing—everything. He did it in 45 days."
Alex sat down, genuinely stunned. In an era where post-production for a feature film typically took four to eight months, Soderbergh's efficiency was unheard of.
"He says he had the entire film edited in his head before he even shouted 'action' on the first day," Paula continued. "He's satisfied with the cut. He's not looking for more time or more money. He's ready to show the world what he has made."
Alex nodded, a slow smile spreading across his face. He had trusted the young director's vision, but he hadn't expected this level of discipline. For Alex, it was a welcome surprise.
Would you like me to continue by writing the first scene of the table read for Ghost, or would you prefer to see the internal reaction at Paramount when they see the finished cut of Rain Man?