Filming had hit its stride since starting in early April. Meticulous prep meant John Hughes could focus on coaxing nuanced, authentic moments from his cast, and the production hummed along ahead of schedule. Today was dedicated to Patrick Verona's iconic serenade to Kat Stratford – a scene demanding Alex pour every drop of charisma he possessed into the performance.
The Stadium High soccer field was bathed in afternoon light. Helen Hunt, as Kat, was mid-drill with her team when the familiar opening notes of "Can't Take My Eyes Off You" unexpectedly rang out. All eyes turned to the bleachers where Alex, as Patrick, stood with a microphone, launching into the song. A wide, delighted smile immediately lit up Kat's face. She stopped playing, resting her hands on her hips, utterly captivated. The practice dissolved as her teammates gathered around, watching with amusement.
Alex delivered the song with infectious energy, moving along the top of the stands, his performance aimed solely at the clearly charmed Kat below. He hit the verses with flair and leaned into the chorus, his voice full of playful sincerity. Kat laughed openly at his antics, completely enjoying the spectacle made just for her.
As the song built towards its final crescendo, nearing the last repetitions of "Let me love you, baby! Let me love you!", two campus security guards appeared at the base of the bleachers, starting to climb with purpose. Patrick spotted them approaching. Instead of panicking, a mischievous grin spread across his face. He gave Kat a quick 'watch this' look.
Still singing the final lines, "And let me love you, baby! Let me love you!", Alex began dodging playfully along the top row, leading the guards on a comical, short-lived chase amongst the empty seats. He used the mic stand as a prop, always keeping an eye on Kat, never missing a beat even as the guards closed in. The marching band music seemed to swell, almost keeping pace with the unexpected chase.
Just as he belted out the very last syllable, the two guards finally cornered him, grabbing his arms. The band music cut off abruptly. Patrick, still grinning breathlessly, offered no resistance as they began escorting him firmly down the steps and away from the field.
Down below, Kat, who had watched the entire finale – the singing, the dodging, the capture – with rapt attention and growing amusement, absolutely erupted. She threw her head back in laughter and clapped loudly, thoroughly entertained by Patrick's charming performance, his playful defiance of authority, and his ultimate, inevitable capture.
"CUT!" Hughes shouted, laughter evident in his own voice. "Perfect! That ending was pure gold!" He strode towards the actors. "Alex, the runaround while still singing – brilliant!" The whole sequence, blending the romantic gesture with the slapstick finish, had come together flawlessly. Remarkably, they'd captured everything Hughes wanted in just two takes. As the crew began resetting, cheers and laughter echoed around the set, everyone buzzing from the energy of the scene they'd just filmed. The fast pace of the shoot continued, fueled by moments like these.
But the smooth sailing captured on film didn't always reflect the full picture behind the scenes. While the production itself raced ahead, the interpersonal dynamics among the cast carried subtle complexities. Alex, whose ascending stardom was becoming increasingly apparent, genuinely tried to foster camaraderie, sharing jokes and attempting to connect during downtime. Yet, an almost imperceptible distance often lingered between him and many of his co-stars. Whether it stemmed from his growing fame, the natural pressures of the shoot, or the sheer intensity he brought to Patrick Verona, actors like John Cusack, Diane Lane, James Spader (as Joey Donner, high school senior who wants to sleep with Bianca) and Helen Hunt, while professional and collaborative on camera, seemed to maintain a certain cautious reserve off-camera. Even though acted friendly, they interacted with an awareness of Alex's burgeoning status. It wasn't hostility, merely a slight, perhaps unconscious, intimidation factor – a barrier Alex hadn't intended but that existed nonetheless.
The clear exception to this dynamic was Robert Downey Jr. Cast as Michael Eckman, Cameron's sharp-tongued, slightly nerdy confidante who becomes instrumental in the plan to woo Bianca, Downey Jr. brought a completely different energy to the set. He seemed utterly immune to any sense of hierarchy or intimidation. This likely stemmed from his unique upbringing, steeped in the often unconventional world of indie filmmaking.
Born in New York City on April 4, 1965, Robert was practically raised on the film sets of his father, the avant-garde director Robert Downey Sr., and actress mother, Elsie Ann Downey. His screen debut came at age five, playing a puppy in his father's film Pound (1970). More small roles followed in Downey Sr.'s eclectic projects like Greaser's Palace (1972) and Moment to Moment (1975). His childhood included unconventional educational experiences, like studying classical ballet in London, alongside summers honing his craft at the Stagedoor Manor Performing Arts Training Center in New York. He'd dropped out of high school to pursue acting full-time and had appeared, again under his father's direction, in the less obscure comedy Up the Academy (1980).
So, by March 1982, as filming continued, Downey Jr., though not yet seventeen, possessed a confidence and ease born from lifelong exposure to the industry's eccentricities. He interacted with Alex not as a remote 'star,' but as a fellow actor, someone to riff with, share cynical observations with between takes, and generally puncture any potential awkwardness with his quick wit and irreverent charm. His presence provided a welcome counterpoint to the subtle tensions elsewhere, adding another layer to the already dynamic chemistry bubbling on the set of the film.
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As April drew to a close amidst the focused energy of the ongoing shoot, news arrived about the final box office tally for '17 Again'.
The film had concluded its successful theatrical run, finishing with a strong $76.45 million gross from North America.
Its international appeal added another $26.63 million to the pot.
This brought its total worldwide collection to $103.08 million. Measured against the tight $6 million budget allocated for the production, the financial success of '17 Again' was undeniable – it was definitively a great hit, further solidifying the industry perception of Alex as a reliably bankable star whose presence could yield impressive returns.