Alex insisted that the actors playing naval aviators—himself, Val Kilmer, Anthony Edwards, and the rest of the ensemble—had to experience the real terror, adrenaline, and confusion of high-G maneuvering. The raw, visceral reactions of men under extreme duress were something no acting coach could teach.
Thanks to the official agreement between Universal and the U.S. Navy, the actors were granted access to the best training available. Their initial flight instruction was to take place with the elite pilots of VF-51 and VF-111 squadrons.
The training had two primary justifications. The first, the official reason, was realism. However, Alex explicitly told Jerry Bruckheimer and Don Simpson that the secondary reason was the publicity of seeing Alex and his cast strapped into Navy fighters.
The first day of serious flight training involved orientation flights in the two-seater fighter jets, flown by experienced Navy pilots who were instructed to give the actors a true taste of high-G flight.
The air base buzzed with excitement—both military and Hollywood—as the young actors were suited up.
The atmosphere was initially jovial, laced with bravado. The results, once they returned, were immediate and dramatically uniform.
Anthony Edwards ("Goose"), pale and green, tumbled out of his cockpit and immediately sought a trash can to puke.
Val Kilmer fared slightly better but not by much. He felt the world spinning once out of the cockpit. His walk was wobbly, barely steadying himself, but he managed to get back toward the hangar before collapsing into a chair.
Other supporting actors were equally defeated, some requiring medical attention for dizziness and disorientation.
The only one who remained seemingly unaffected was Alex Hayes. His face was flushed, but he showed no signs of dizziness or vomiting.
"What the hell, Alex?" Val Kilmer asked, "How are you not affected? You're barely affected except for a flushed face."
Alex smiled, stretching his shoulders. "I have a little experience with this. I actually have a pilot's license. This is my first time in a fighter jet, though, and it was incredible, truly exciting. The basic G-forces from maneuvering small planes helped me prepare."
The other actors nodded in understanding.
After a week of grueling training in the Navy planes, the actors were given a necessary break.
Pre-production, final set builds, and detailed planning took the time until August. By the time the cast and crew reassembled, ready for the first day of principal photography, the summer was drawing to a close.
In other news, Alex's latest film, Say Anything..., finally completed its theatrical run. Domestically, it grossed $105 million. It grossed another $52 million overseas, with the majority of that coming from major European markets like the UK, Italy, and France.
The total worldwide box office for Say Anything... stood at $157 million.
Based on a 15% share of the domestic box office gross (first dollar) from the $105 million domestic total for Say Anything..., Alex would receive $15.75 million.
This commercial triumph was quickly followed by news of his next two major releases. The Color of Money, his serious drama directed by Martin Scorsese, was scheduled for a September release, and the highly anticipated war epic, Platoon, was set for December. The next three months were arguably the most important of Alex's career. While his commercial viability was undisputed, the success of these two films would determine whether he was perceived as a mature film actor.
*******
The principal photography for Top Gun commenced in the third week of August.
The very first scene scheduled for shooting was the bar sequence where Maverick attempts to charm Charlie, the civilian instructor, with an impromptu musical performance: "You've Lost That Lovin' Feelin'."
The set was dressed as a smoky, crowded officer's club, vibrant with extras dressed as Navy personnel. Director Tony Scott was ready to capture the moment of pure, reckless charm that defined the Maverick character.
Dressed in his crisp white Navy uniform, Alex exuded the blend of confidence and boyish charisma the role demanded. As the cameras rolled, he began his serenading attempt, pulling his fellow pilots— Anthony Edwards, and others—into the performance.
The scene was a masterclass in establishing two critical relationships: one between Charlie and Maverick, and the other between Maverick and Goose.
The chemistry between Alex and Madeleine Stowe was palpable. As Alex delivered the lines of the song directly to Charlie, his expression was a perfect mix of confident showmanship and genuine interest. Madeleine Stowe, in turn, managed to portray Charlie's confidence, embarrassment, but undeniable attraction.
The playful, synchronized backup singing and shared mischief between Alex and Anthony Edwards instantly solidified the easy, brotherly bond of Maverick and Goose. Their chemistry was flawless—a perfect on-screen friendship that felt completely natural and central to the story.
Alex's charm was the gravitational center of the scene. He managed to be commanding yet vulnerable, arrogant yet endearing, all while delivering a corny song with absolute sincerity. When the cameras cut, the entire room erupted in applause. Crew members and producers agreed: this charming, magnetic scene will become a guaranteed highlight of the film.
Shooting continued that same day, moving to a scene that captured the pilots' off-duty camaraderie: the "Great Balls of Fire" piano performance.
The set was the same officer's club bar, but the atmosphere shifted to feel more private and familial, focusing on a corner around a piano.
This time, the focus was entirely on the effortless bond between Alex and Anthony Edwards, with the audience provided by Madeleine Stowe (Charlie) and Meg Ryan (Goose's wife, Carole). Meg Ryan, with her infectious smile and sharp, bubbly energy, brought an immediate, necessary warmth to the proceedings.
As Goose played the piano and Maverick leaned in to sing, the two actors looked like lifelong best friends. They were loose, joyful, and completely authentic in their performance, creating an image of brotherhood that would become the emotional core of the film. The presence of Meg Ryan and Madeleine Stowe in the scene, watching the pilots unwind, added depth. Charlie saw the real, non-competitive side of Maverick, while Carole's beaming pride in her husband, Goose, grounded the scene in real life.
********
The production moved on to mostly land scenes involving the actors, preparing for the eventual move to Naval Air Station Fallon in Nevada, where the majority of the air-to-air aircraft maneuvering sequences would be shot.
The next major scene on the schedule was the beach volleyball sequence, a perfect distillation of the film's aesthetic: shirtless pilots, sun-drenched sand, and testosterone-fueled competition.
Val Kilmer, ever the method actor with a slightly purist view of his craft, was vocally skeptical. "It's silly," he remarked to Alex on set. "All this oiling up and strutting around just to play beach volleyball."
Alex, however, simply laughed. "Yeah, it is silly," he conceded, tying his bandana. "But I have faith in Tony Scott."
Alex was quick to acknowledge that he hadn't written the scene; it was a pure Tony Scott addition, an aesthetic flourish meant to capture the casual, athletic bravado of the characters. The studio hadn't been fully on board, deeming it an unnecessary expenditure of time and resources. However, Alex gave his unconditional support to Scott, recognizing that these non-verbal, visually impactful moments were key to the director's style.
With Alex's backing, Scott spent a full day shooting the scene, capturing every slow-motion spike, every dive in the sand, and the intense competitive energy between Maverick and Iceman, adding another layer of visual identity to the film.