The air in the Paramount casting room in early 1982 was thick with anticipation and a touch of weary frustration. Director John Hughes, star/co-creator Alex Hayes, and producer Jerry Bruckheimer had seen countless talented young actresses read for Kat Stratford in '10 Things I Hate About You', but none had quite clicked. They needed someone specific, someone who could embody intelligence, anger, vulnerability, and wit all at once. Then, a young woman named Helen Hunt stepped forward to read. Instead of starting with dialogue, she launched directly into the raw, emotional poem Kat writes near the film's climax.
Standing before them, she began, her voice initially tight with a controlled, cynical edge:
> "I hate the way you talk to me,
> and the way you cut your hair.
> I hate the way you drive my car.
> I hate it when you stare."
>
The words spat out, sharp and defensive.
> "I hate your big dumb combat boots,
> and the way you read my mind.
> I hate you so much it makes me sick;
> it even makes me rhyme."
>
Alex, Hughes, and Bruckheimer watched, captivated. The sarcasm was perfect, but Hunt allowed flickers of underlying pain to show through.
> "I hate the way you're always right.
> I hate it when you lie.
> I hate it when you make me laugh,
> even worse when you make me cry."
>
Her voice trembled almost imperceptibly on the last line, the tough facade beginning to crack.
> "I hate it when you're not around,
> and the fact that you didn't call."
>
The hurt was now undeniable, raw and exposed in her eyes. She paused, taking a shaky breath, gathering herself for the final, devastating admission:
> "But mostly I hate the way I don't hate you.
> Not even close,"
>
Her voice broke here, thick with emotion, tears welling visibly but held back by sheer force of will.
> "not even a little bit, not even at all."
>
She finished, the last words hanging heavy in the sudden silence of the room. Alex, Hughes, and Bruckheimer exchanged a look. No words were needed. The intelligence, the fire, the buried vulnerability – it was all there. This was Kat Stratford.
How had Helen Hunt ended up in this room, delivering such a perfect read? The standard audition process had yielded frustrating results. Alex, increasingly invested due to his casting consultation rights and his clear vision for Kat, had taken to reviewing audition tapes submitted for various roles, or perhaps reels sent by agents, looking for that spark the live reads hadn't yet provided. While reviewing audition tapes, Alex found Hunt. Convinced she had potential for the role of Kat, he specifically requested through Nancy Jones that Hunt be sent a direct invitation to audition.
Helen Hunt, at this point in early 1982, was a young actress (around 18 or 19) steadily building her resume, though not yet a major star. She was primarily known for guest appearances on television shows and strong performances in several well-regarded TV movies from 1981, including playing the title roles in 'The Miracle of Kathy Miller' and 'Child Bride of Short Creek'. She was respected for her talent but hadn't had that breakout film role.
Now, standing in the audition room after delivering Kat's poem with such raw power, it was clear her time might be coming. Alex's intuition in spotting her potential on tape and bringing her in had paid off. The long, difficult search was over. They finally had their Kat. With the entire principal cast now set, the accelerated pre-production for '10 Things I Hate About You' could finally move forward with confidence towards its end-of-March start date.
As Kat was selected, preproduction was almost complete. Filming locations were chosen at Stadium High School and at a house in the North End of Tacoma, Washington. By the last week of April, all preparations were finalized.
To fully step into the role of Patrick Verona, Alex underwent a physical transformation, adopting a distinctly 80s rebellious look designed to capture the character's confident, non-conformist attitude within that decade's counter-culture. He grew his hair longer, styling it with the volume characteristic of the era. Alex fully embraced the aesthetic through his wardrobe choices, focusing on key pieces like a classic denim jacket, typically worn open over a simple t-shirt, paired with durable jeans. This core outfit was often accented with typical 80s accessories such as studded belts, leather wristbands.
The entire look was anchored by big combat boots, cementing the edgy, youth-rebellion vibe and completing Alex's embodiment of the 1980s Patrick persona before filming began.
With all preparations finalized by the last week of April and Alex fully embodying the 1980s Patrick persona, the production was set. The film operated on a budget of $6 million—notably the same budget level as the future production '17 Again'. Within this $6 million framework, nearly $2 million was designated for salaries. Alex, taking on the crucial role of Patrick Verona, commanded a significant portion of this, securing $700,000 for his work, reflecting his importance to the project. The stage was now set for filming to commence.
By the end of March, '17 Again' had solidified its success, boasting a strong $70.63 million at the North American box office. Its international appeal was also evident, with overseas earnings already crossing $20.51 million. Much of this international success was driven by key markets such as the UK, France, and Italy in Europe, along with strong performances in Asia, particularly South Korea and Japan. With its combined global earnings $91.14 million and still climbing, industry watchers agreed '17 Again' was clearly poised to surpass the $100 million mark worldwide, cementing its status as a bonafide hit.
This significant success simultaneously propelled Alex's career forward, boosting his popularity with audiences and cementing his status with studios as a newly bankable star.
Adding to his momentum, significant buzz was already building around what was positioned as Alex's next major release: the high school comedy 'Fast Times at Ridgemont High', which was scheduled to hit theaters on August 13, 1982.