As May 1981 unfolded, 'Can't Buy Me Love' continued its remarkable run, cementing its status as a major hit. By the end of the month, its domestic gross soared past $45.78 million, and industry analysts confidently predicted it would easily surpass the $50 million milestone – a massive success by any measure, especially for its budget. As the film inevitably moved into the later stages of its theatrical run beyond May, its screen count naturally began to reduce, eventually settling around 270 theaters for its remaining weeks, but it had already proven itself a highly profitable venture for Universal.
Simultaneously, the focus shifted to Alex's highly anticipated follow-up. After weeks of intensive pre-production, principal photography for '17 Again' officially commenced in the third week of May. Alex, meanwhile, had been diligently preparing for the role's physical demands, hiring a basketball coach and spending hours on the court practicing drills and learning moves to convincingly portray Mike O'Donnell's former high school athletic prowess when needed for the 'Mark Gold' persona.
The production schedule smartly front-loaded the scenes requiring their biggest, albeit briefest, star. The first two days of filming were dedicated entirely to Robert Redford's portrayal of the disillusioned, 37-year-old Mike O'Donnell. The atmosphere on set was electric yet focused whenever Redford was present. Crew members moved with quiet efficiency, their eyes often drifting towards the iconic actor between takes. There was an undeniable aura around him – not one of demanding ego, but of sheer, effortless star presence. Alex, who didn't have any scenes scheduled himself those first couple of days, made sure to be there anyway, watching intently from the sidelines. Seeing Redford work – his subtle expressions conveying Mike's quiet desperation, his professional interaction with Zemeckis and the crew – was a masterclass. 'This is what a real movie star is,' Alex thought, feeling a mix of admiration and the keen awareness of how far he still had to climb.
During a break while the crew adjusted lighting, Redford stepped away from the set, grabbing a cup of coffee. He noticed Alex watching him and gave a slight, welcoming nod. Alex hesitated for only a moment before walking over.
"Mr. Redford? Sorry to bother you. I just wanted to watch you work. It's... incredible," Alex said, feeling slightly starstruck despite his own recent success.
Redford offered a warm, crinkled smile. "Glad to have you here, Alex. Congratulations again on your picture, quite the hit." He took a sip of coffee, his gaze thoughtful as he looked at the younger actor. "Big changes for you now, I imagine."
"It's... yeah, it's been wild," Alex admitted.
Redford leaned against a piece of equipment, his tone becoming quietly advisory. "Listen, kid," he began, his voice low and steady. "This town, this business... it can spin your head around pretty fast when things hit like they have for you. Enjoy it, absolutely. But keep a clear head about you."
Alex listened intently.
"The important thing," Redford continued, "is to stay grounded. Keep people around who knew you before the billboards went up. Focus on the work itself, on the craft – that's the only thing that's really yours, the only thing that lasts. The rest," he gestured vaguely, "the fame, the attention... it's noise. Necessary noise sometimes, part of the job, but noise nonetheless." He paused, meeting Alex's eyes. "Know the difference between the fellow they're selling," he nodded towards where the cameras were, "and the fellow you actually are. Be professional, treat everyone on set with respect – from the director down to the grips – but don't let the bubble get too thick."
Alex absorbed the words, feeling their weight and sincerity. "Thank you, Mr. Redford. That... really means a lot. I appreciate the advice."
Seeing an opening, and unable to resist asking about his own acting hero, Alex added tentatively, "If you don't mind me asking, sir... you worked with Paul Newman. He's always been someone I've looked up to. What was he like on set?"
Redford's smile returned, this time with a touch of nostalgia. "Paul," he said warmly. "Now there was a pro. Prepared, generous, funny as hell, but absolutely dedicated to the work. No ego, no nonsense. Just showed up and delivered, every single time." He chuckled softly. "Learned a hell of a lot from him, watching how he handled himself, how he treated people even when he was the biggest star around." He met Alex's gaze again. "Made a couple of good pictures together... 'Butch Cassidy', 'The Sting'. Doesn't get much better than working opposite Paul Newman."
Just then, an assistant director called for Redford. He gave Alex a final nod. "Keep your head straight, kid. You'll do fine."
As Redford walked back toward the lights, Alex remained standing there, processing the unexpected pearls of wisdom from a screen legend. It was advice he knew he'd need in the coming years, a grounding moment amidst the whirlwind rise of his young career.
After Robert Redford finished his scenes, the crew got ready to film scenes from the past. These scenes were important because they showed why the main character, Mike O'Donnell, was unhappy as an adult.
Phoebe Cates came to the set to play Young Scarlet, who was Mike's high school girlfriend. Alex Hayes played the young Mike in these scenes. Because Alex and Phoebe had worked together on 'Can't Buy Me Love', they felt comfortable acting together again.
Phoebe's part in the movie was small, but the scenes were key to the story. They filmed everything she needed to do in just one day.
Here's what they filmed:
* First, the sad scene where Scarlet tells Mike she's pregnant. She tells him right before his most important high school basketball game. Winning this game could have changed his whole life with scholarships.
* Next, they showed Mike playing in the game, but he can't concentrate. He keeps thinking about what Scarlet told him.
* Then, Mike makes a huge decision. He walks off the basketball court in the middle of the game. Everyone is shocked. He basically gives up his dream future.
* Right after leaving the game, Mike finds Scarlet and asks her to marry him.
Even though these scenes were about difficult moments, the actors worked well together, and director Robert Zemeckis made sure everything went smoothly.
By the end of the day, Phoebe Cates was done filming. Her scenes clearly showed the big choice Mike made when he was young, which led to his unhappiness later.
With these important past scenes finished, and the scenes with adult Mike (Robert Redford) also done, the movie production was ready to focus on the main part of the story: Alex Hayes playing Mike trapped back in high school as a teenager named Mark Gold.
The most emotionally demanding scene filmed during this period was the divorce court hearing. Mark, in a desperate, last-ditch effort, reads a letter from "Mike" . Mark, then reads the letter penned by Mike), pouring out years of regret, apologizing for his bitterness, for blaming her, for not realizing she and the family were the most important things in his life, and affirming that he still loves her. Zemeckis pushed Alex for raw emotion, and Alex delivered, his voice cracking, tears welling in his eyes but never quite falling, conveying the deep, painful sincerity of Mike's message through Mark's young face.
Across from him, Jaclyn Smith, as Scarlet, powerfully conveyed her character's reaction almost entirely through expression. Listening intently to words she never thought she'd hear from Mike, her face registered a complex storm of surprise, lingering pain, confusion at hearing them from this boy who resembled her husband, and crucially, the first visible flickering of doubt about her decision to finalize the divorce. It was clear this emotional plea was hitting its mark, shaking her resolve. Both actors performed beautifully in the scene, capturing the raw heart of Mike's plea and Scarlet's complex response, marking it as a pivotal moment in the film.
After Zemeckis finally called "Cut!", letting the emotion hang in the air for a moment, a palpable sense of relief and accomplishment settled over the set. As Alex took a steadying breath, Jaclyn Smith approached him. "Alex," she said warmly, her voice genuine, "that was truly moving. Wonderful work just now."
Alex felt a flush of pride. "Thank you, Ms. Smith," he replied sincerely. "Honestly, you made it easy – your reaction was incredible to play off of. Your acting... it's really as stunning as your beauty." Jaclyn Smith, widely regarded as one of the most beautiful women in the world, simply offered him a gracious smile, acknowledging the compliment.
With these crucial character arcs and emotional beats being captured on film, '17 Again' was shaping up to be more than just a high-concept comedy; it was a story with genuine heart, exploring themes of regret, love, and second chances.
As principal photography for '17 Again' continued through the early summer of 1981, Alex Hayes found himself spending considerable time filming scenes opposite Christopher Lloyd, who played the eccentric millionaire Ned Gold. Their characters' relationship – the bewildered teenager with an adult mind relying on his equally bewildered but loyal best friend/cousin – was the source of much of the film's situational comedy. Ned had to pretend to be Mark's guardian, navigate Mark's sudden immersion back into high school drama, and keep the incredible secret, and awkwardly manage his own growing attraction to the high school principal.
For Alex, working with Christopher Lloyd was great, an exhilarating and often humbling experience. While he felt increasingly confident in his dramatic scenes, Alex quickly realized that the comedy scenes with Lloyd were on a whole different level. It was here, Alex felt, that he learned the most about the craft of comedy acting during the entire production – specifically, how to do it effectively on screen.
He watched Lloyd intently between takes and during rehearsals. Lloyd possessed an extraordinary gift for comedic timing, an unpredictable rhythm in his line deliveries, and a fearless commitment to the absurdity of his character. He could mine humor from a single, perfectly timed eyebrow raise, a sudden shift in posture, or an utterly unexpected vocal inflection. His physical comedy was precise and hilarious, stemming directly from Ned's peculiar character.
When the cameras rolled for their shared comedy scenes, Lloyd was magnetic. More often than not, he always stole the scene, drawing the audience's eye and generating huge laughs with seemingly effortless skill. Alex found that just reacting naturally wasn't enough; Lloyd's energy and inventiveness demanded more. Alex had to try with all his might, focus intensely, and dig deep into his own comedic instincts just to match him, to hold his own space in the scene and make the comedic back-and-forth believable rather than simply becoming an audience member watching Lloyd work.
It was a challenging dynamic, pushing Alex far beyond what he'd experienced before. Yet, despite the feeling of constantly playing catch-up, Alex relished the experience. He recognized he was receiving a masterclass in comedic performance from one of the most unique talents in the business. The challenge was making him a better actor, forcing him to sharpen his own timing, reactions, and understanding of how comedy truly worked on film. Working with Christopher Lloyd wasn't just great; it was an invaluable education.