The shoot for '17 Again' proceeded at a brisk pace through June under Robert Zemeckis's energetic direction. The atmosphere on set remained positive, buoyed by the strong script, the talented cast, and the palpable sense that they were making something special. By the first week of July 1981, principal photography officially wrapped. A wrap party was held, filled with the usual mix of relief, exhaustion, and celebratory camaraderie after weeks of intense work.
As Alex mingled, saying goodbye to cast and crew, he reflected on the experience. Working with established pros like Christopher Lloyd and Jaclyn Smith, and watching Robert Redford up close, had been rewarding. But the cast member who left the strongest impression on him was the intense young man playing his son.
'Nicolas Cage', only 17 himself and relatively new to film sets despite being the nephew of the legendary Francis Ford Coppola, had thrown himself into the role of the bullied, sensitive Tom O'Donnell with a raw, captivating energy. Alex had watched him during their scenes together, noticing the unique choices Cage made, the flashes of vulnerability mixed with burgeoning defiance. 'He's got it,' Alex thought more than once. 'That raw talent, that spark.'Yet, observing Cage also prompted a more sobering reflection in Alex about the nature of their business. Talent alone, Alex realized, wasn't enough. It was the minimum prerequisite, the ticket just to get into the game. Turning talent into a sustained career required navigating the industry, making smart choices, incredible perseverance, and a healthy dose of luck – something Alex was only just beginning to understand himself.
Around the same time filming wrapped on '17 Again', Alex received the final tally for his first breakout hit. **'Can't Buy Me Love' had finally concluded its successful North American theatrical run, grossing an impressive final domestic total of $52 million. Furthermore, Universal had strategically released the film in select foreign markets over the summer, where it resonated surprisingly well for a culturally specific American teen comedy, adding another $12 million to its global haul.
A total worldwide gross of approximately $64 million was a phenomenal result for a film made on a relatively small budget in the early 1980s. It cemented Alex Hayes's status, boosted Universal's bottom line, and provided the perfect runway for '17 Again'.
With filming complete and 'Can't Buy Me Love' officially in the profit history books, Alex could finally take a breath. The next stage involved Zemeckis and his team heading into the editing room for the lengthy post-production process on '17 Again'. For Alex, it meant another period of waiting, but this time, the foundation felt significantly more solid.
The summer of 1981 settled over Los Angeles, bringing with it a welcome lull for Alex Hayes. With '17 Again' wrapped and now in the hands of Robert Zemeckis and the post-production team, Alex finally had time to decompress. He spent many afternoons relaxing at his Aunt Nancy Jones's comfortable home, trying to recharge after the whirlwind of the past year.
The need for relaxation was underscored by an experience just the day before. His cousin, Janet, now fully aware of Alex's burgeoning fame thanks to 'Can't Buy Me Love's' massive success, had excitedly asked him to come with her to her middle school – she wanted to show off her famous cousin. Alex had agreed, picturing a quick, low-key visit. The reality was starkly different. Word of his presence spread like wildfire, and within minutes, he found himself surrounded by a swarm of enthusiastic twelve- and thirteen-year-old girls, armed with notebooks and scraps of paper, clamoring for autographs and asking breathless questions about his movies. While flattered, Alex found the sheer intensity exhausting. He spent nearly an hour patiently signing and smiling until a teacher helped gently extract him. Janet, who had initially beamed with pride, watched the scene unfold with wide, surprised eyes, clearly never having imagined the reality of her cousin being a genuine teen heartthrob.
Lying by Nancy's pool the next day, reflecting on the slightly surreal school visit, Alex realized that simply doing nothing wasn't really working for him today. The buzz of activity from the film set was still too recent; he felt restless. On impulse, he grabbed his keys, hopped in his car, and headed over to the CAA offices in Beverly Hills.
He walked into the sleek, modern lobby, and the receptionist greeted him instantly by name, "Good afternoon, Mr. Hayes. Go right on up." Staff members acknowledged him with respectful nods as he made his way toward Nancy's office. He didn't have to wait; they were used to seeing him there now.
He knocked on his aunt's office door. "Come in!" Nancy's voice called out, slightly preoccupied. She looked up as he entered, her expression shifting from busy focus to mild surprise, asking him silently what he was doing there with just a raised eyebrow.
Alex smiled sheepishly. "Got bored," he admitted.
Nancy laughed, shaking her head slightly as she gestured towards a chair. "Bored already? After that shoot? I thought you'd be sleeping for a week." She tidied a stack of headshots and casting notes on her desk.
"Tried that," Alex said, sitting down. "So, what are you working on?"
"Just wading through submissions," Nancy answered, tapping the pile. "Trying to help fill out the cast for Amy Heckerling's new high school film. Looks like it could be fun. Lots of parts."
Alex's interest piqued. A new Amy Heckerling high school movie sounded interesting. "Oh yeah?" he asked casually. "Didn't hear about that one." The unspoken question hung in the air: why hadn't he been submitted or contacted?
Nancy seemed to read his mind. "It's more of an ensemble piece, Alex," she explained gently but directly. "No single lead driving the whole narrative like '17 Again'. And honestly," she added, giving him an appraising look, "you've sort of... shifted. Since 'My Bodyguard', you've shot up, lost that earlier awkwardness. You read more 'handsome young leading man' now." She paused. "They're looking for different types for the main roles in this one – more specific character kids, maybe less conventionally heroic. There just wasn't a role that felt like the right fit for where you are right now."
Alex nodded slowly, processing the nuances of casting and how quickly perceptions could change based on recent work and physical maturation. It made sense, even if it was a little strange to be considered past certain high school roles already. "Gotcha," he said. "What's the film called?"
Nancy glanced down at the script cover on her desk. "'Fast Times at Ridgemont High'," she replied.
Alex registered the title Nancy Jones mentioned: 'Fast Times at Ridgemont High'. Then the director's name clicked again, this time with personal connection. "Wait, Amy Heckerling?" Alex clarified, leaning forward slightly. "Amy, who directed 'Can't Buy Me Love'?"
"The very same," Nancy confirmed. "Universal was impressed with what she did on your picture, gave her this one based on Cameron Crowe's book. Looks like her debut success is opening doors for her."
Alex felt a surge of curiosity. He genuinely liked Amy and respected the work they'd done together on 'Can't Buy Me Love'. He wanted to see what she was doing next. "Wow, that's great for her," he said. "What's it like? Can I take a look at the script?"
Nancy hesitated for only a moment, perhaps slightly surprised he wanted to read something he wasn't being considered for, but then slid a copy across her desk. "Sure. Like I said, it's an ensemble piece, based on Crowe actually going undercover at a high school. Lots of characters, very slice-of-life, feels pretty authentic to how kids really talk and act."
Alex took the script back to Nancy's house later that day, intending just to skim it out of interest in Amy's next project. But as he started reading, he found himself engrossed. The dialogue snapped, the characters felt real – messy, funny, and relatable in their teenage awkwardness. It wasn't a high-concept fantasy like '17 Again' or a clear-cut rom-com like 'Can't Buy Me Love'; it felt different, looser, more observational. He finished it in one sitting, a grin spreading across his face. He found it genuinely great.
The next morning, Alex drove back to CAA, script in hand, and walked straight into Nancy's office again. "Nancy," he announced before she could even ask why he was back so soon, "I read 'Fast Times'. It's fantastic."
"Glad you liked it," she said, looking up from her work.
"No, I mean... I really liked it. And I want to audition for it."
Nancy blinked, momentarily nonplussed. "Audition? Alex, we talked about this. There isn't a lead role that fits..."
"Not for the leads," Alex interrupted quickly. "I want to read for Jeff Spicoli. The surfer dude."
Nancy stared at him, baffled. "Spicoli?" she repeated, incredulity coloring her tone.
"Alex, are you serious? That's practically a cameo! He drifts in and out, mumbles about waves... the script breakdown probably gives him maybe ten minutes of total screen time, tops!** He's a burnout stoner character. It's completely counter to the 'charming young leading man' image we've just built with 'Can't Buy Me Love' and '17 Again'!"
"That's exactly why I want to do it, Nancy!" Alex insisted, his enthusiasm overriding her pragmatic concerns. "It's different. I don't want to just play the nice guy or the romantic lead right now. Spicoli's a character! It's physical comedy, it's a specific vibe... it's a chance to show I can do something completely unexpected. I don't care if it's small, I don't care if it 'doesn't suit my image'. I don't want to get typecast already. I want to try for it. Can you please talk to Amy, see if she'll let me read for him?"
Nancy Jones leaned back in her chair, studying her nephew's determined face. The agent in her saw the potential pitfalls – confusing the audience, taking a step back in role size. But she also saw the actor in him, wanting to stretch, wanting to prove his range. She sighed, a small smile playing on her lips despite her reservations.