Getting the audition for Jeff Spicoli wasn't entirely smooth. Nancy Jones had to leverage Alex's current standing, as Amy Heckerling harbored understandable skepticism about the star of a hit romantic comedy wanting to play a bit-part burnout. However, Universal saw the potential publicity value in having their red-hot leading man, Alex Hayes, associated with Heckerling's anticipated follow-up to 'Can't Buy Me Love', even just through an audition, and subtly encouraged the meeting.
Alex, determined to prove he wasn't just a one-note actor, threw himself into preparation. He spent time down at Venice Beach, observing the local surfers and stoners – their languid movements, their sun-bleached hair, their unique slang and relaxed vocal patterns. He bought clothes – faded concert tees, baja hoodies, worn corduroy shorts, checkerboard slip-ons. He even bought a wig: shoulder-length, shaggy, chaotically blonde, capturing Spicoli's signature look. Adding another layer to his prep, Alex drew on inspiration from his strange 'dreams', recalling fragmented images of a future actor named Keanu Reeves playing a character called Ted 'Theodore' Logan – channeling that specific vibe of amiable cluelessness and a slightly disconnected, optimistic worldview into his character work for Spicoli.
On the day of the audition, Alex arrived looking nothing like the handsome young star recognized from magazine covers. He shuffled into the waiting room, already embodying Spicoli's slouch and laid-back demeanor. When his name was called, he ambled into the audition room where the panel – director Amy Heckerling, writer Cameron Crowe, and producers Irving Azoff and Art Linson – waited, perhaps exchanging slightly dubious glances.
Their surprise was immediate and palpable. The confident Alex Hayes they knew was gone, replaced by this sun-kissed, spacey-looking kid in the messy blonde wig. He gave a small, characteristic Spicoli wave. "Howzit?"
Heckerling, recovering first, gestured towards the reading materials. "Alex... thanks for coming in. We have some sides here for Jeff Spicoli."
Alex took the pages, scanned them briefly with apparent nonchalance, and then launched into the reading. He delivered lines instantly recognizable to Crowe: "Morning, Mr. Hand. Aloha." He nailed the dreamy rationale of "All I need are some tasty waves, a cool buzz, and I'm fine." He captured the utter bewilderment and subsequent delight of the famous pizza-delivery-in-class scene: "You guys are paying for it!?" followed by "Awesome! Totally awesome!" He channeled the observations, the 'dream' inspiration, delivering the lines with a pitch-perfect blend of surfer drawl, stoner logic, and unwavering California optimism.
When he finished, there was a beat of silence. Crowe had a definite smile playing on his lips. Heckerling looked impressed despite herself, her initial skepticism clearly challenged. Azoff and Linson remained impassive, likely running numbers in their heads.
"Okay, Alex," Heckerling said, leaning forward slightly. "Interesting. Very different take. Can you try that last part again – the pizza scene – but maybe... pull it back even more? Less of a 'performance', more just... internally logical to him? Like ordering pizza to class is the most natural thing in the world?"
Alex mentally processed the note, slightly confused by the direction to be less performative for such a character, but he nodded. "Sure. Okay." He took a breath and delivered the lines again, this time dialing down the overt mannerisms, making Spicoli's actions stem from a place of simple, unshakeable, matter-of-fact stoner reasoning.
As he finished the second read, Cameron Crowe leaned over and whispered animatedly to Heckerling, "Wow. That's... that's uncanny. Almost exactly like Penn's read." Amy Heckerling nodded slowly, surprised Alex could pivot so effectively to that specific interpretation. "Okay... thank you, Alex," she said, her voice more thoughtful. "Thanks for coming in. We'll be in touch." Azoff and Linson offered polite nods, their expressions unreadable but likely contemplating the financial implications of casting their now-$500k-per-picture star in such a minor role.
Alex left the room feeling uncertain. He knew he'd surprised them, but the request for the second, different read felt odd. Back in the room, the discussion began. Sean Penn, who had impressed them in audition, was the assumed frontrunner, perfectly embodying that second, quieter interpretation. Alex's ability to also hit that note, combined with his status as a successful actor made the decision complex. But Penn and Alex felt right for the role, but Alex was now a bankable star thanks to Universal's own 'Can't Buy Me Love'. Ultimately, the powerful lure of commercial considerations – the built-in audience Alex commanded, the publicity his casting would generate – tipped the balance. Universal wanted their hot star in their rising director's next film. The part of Jeff Spicoli, against all typecasting expectations, went to Alex Hayes.
When Nancy Jones called Alex with the news that he'd officially been cast as Jeff Spicoli in 'Fast Times at Ridgemont High', his reaction wasn't just relief, it was deep satisfaction. It felt like a significant victory, not just landing another role, but landing this specific role. It was confirmation that he wouldn't immediately be boxed in, that he could push against the 'handsome leading man' trajectory if he chose to. It proved, at least to himself, that he had the potential to play other kinds of characters and avoid being typecast right out of the gate.
His commitment to the role over status was genuine. He remembered the conversation with Nancy after deciding he wanted to audition. Knowing his new $500,000 quote established for '17 Again' would be a major hurdle for such a small part in 'Fast Times', Alex had proactively told Nancy, "Listen, I know the money might be an issue, but I really want to do this for the experience, for the character. Tell Universal I'll do it for $100k. It's not about the salary on this one." Nancy, ever the protective agent, had initially balked at him volunteering such a drastic pay cut, but ultimately respected his artistic reasoning and used it as part of the final negotiation. Landing the part for that $100,000 fee felt like an investment in his own range.
There was another interesting wrinkle. "By the way," Nancy mentioned casually during the call confirming his casting, "couple of familiar faces ended up in the 'Fast Times' cast as well."
"Oh yeah? Who?" Alex asked.
"Well," Nancy said, "remember Nicolas Cage? The young man playing your son in '17 Again'?"
"Yeah, of course. Nic's great," Alex replied, recalling his raw talent.
"He's got just a tiny cameo role in 'Fast Times', listed as 'Brad's Bud' I think," Nancy clarified. "And guess who's playing one of the main female leads, Linda Barrett?"
Alex waited.
"Phoebe Cates," Nancy revealed.
Alex blinked, processing the information. It was an amusing reversal. In '17 Again', Cage had the significant supporting role while Cates had the brief, albeit crucial, flashback part. In 'Fast Times', Cage barely had a walk-on, while Cates was front-and-center as one of the leads.
He mulled over the potential synergy. '17 Again' was likely to be released first – fast-tracked perhaps for sometime at the end of the year 1981, given Universal's enthusiasm and the current post-production schedule following the July wrap. If it became the hit everyone hoped for, featuring him starring and Cates in her memorable flashback, it could generate significant buzz around both young actors. Then, when 'Fast Times at Ridgemont High' opened later in 1982, audiences might be even more curious to see the 'pair' associated with another film together, even if, according to the script, their characters didn't actually share any screen time in that movie. It created an interesting narrative around them across two highly anticipated, though very different, upcoming releases.
Alex felt a renewed sense of excitement. He was genuinely looking forward to the challenge of playing Spicoli, working with Amy Heckerling again, and now, sharing screen time, however briefly, with familiar faces in unexpected configurations. It felt like the right move, artistically and strategically.