While Alex Hayes immersed himself in the relatable teenage angst and high school dynamics of John Hughes's 'Sixteen Candles' on location in the Chicago suburbs during the early months of 1983, a different kind of energy was buzzing back in Los Angeles. Pre-production for Paramount's 'Footloose' was ramping up significantly, driven by the confirmation of its star and the phenomenal, ongoing success of '10 Things I Hate About You'.
At CAA, Michael Ovitz and Nancy Jones were in constant communication with the film's producers, the experienced Lewis J. Rachmil and Craig Zadan, along with writer Dean Pitchford. Schedules were being mapped out, location scouting intensified, and the crucial process of casting the supporting roles around Alex began in earnest.
The director's chair had been filled. Herbert Ross, a seasoned director known for hits like 'The Goodbye Girl' and dance-focused films like 'The Turning Point', was signed on. It wasn't a CAA-driven choice – Ross was represented by the powerful William Morris Agency – but his experience, particularly with musical and dramatic themes, made him a solid fit for the material in the eyes of the studio.
Key casting announcements followed. For the critical role of Reverend Shaw Moore, the conservative minister upholding the town's dancing ban, the acclaimed John Lithgow (represented by The Gersh Agency) was cast. Lithgow was riding high from recent powerful performances in films like 'The World According to Garp' and 'Terms of Endearment'. Playing his wife, Vi Moore, would be the respected stage and screen actress Dianne Wiest (represented by ICM).
While other agencies secured those vital roles, CAA, spearheaded by Nancy Jones, locked down the remaining principal young leads crucial to the film's success. Alongside Alex Hayes as the rebellious Ren McCormack, Nancy secured roles for two other rising stars from her client list: Diane Lane was cast as Ariel Moore, the minister's defiant daughter and Ren's love interest, and Robert Downey Jr. landed the part of Willard Hewitt, Ren's fast-talking new friend who needs to be taught how to dance. Having Alex, Diane, and Robert – three dynamic young actors she represented – anchor the film was a significant coup for Nancy and CAA.
Paramount officially set the budget for 'Footloose' at $8 million. While Alex's highest-budgeted film so far, it was still considered reasonable, even lean, compared to other major studio productions featuring top-tier talent. In an era where established leading men were demanding upfront salaries approaching or even exceeding $5 million per picture, Alex's negotiated deal of $1 million plus a tiered percentage of the gross made him incredibly cost-effective for the studio, especially given his proven box office draw.
This point was not lost on anyone involved. The recently published 1982 Top Ten Money Making Stars Poll (the influential Quigley Poll) was frequently referenced in meetings and during negotiations, serving as undeniable proof of Alex's value:
1.Burt Reynolds
2.Clint Eastwood
3.Sylvester Stallone
4.Alex Hayes
5.Dudley Moore
6.Richard Pryor
7.Dolly Parton
8.Richard Gere
9.Paul Newman
10.Harrison Ford
Seeing Alex's name listed among such towering figures, ahead of established icons, underscored his unique position. He wasn't just a teen idol; he was a bona fide box office powerhouse delivering consistent hits, justifying Paramount's investment and the innovative structure of his deal for 'Footloose'. Pre-production was moving forward with momentum, building a strong foundation for what the studio hoped would be Alex Hayes's next smash hit.
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As late February 1983 arrived, the Chicago winter still held its grip, but filming for Alex Hayes on 'Sixteen Candles' was nearing completion. He had found an easy rhythm working with John Hughes and the young cast. As his final scenes approached, Alex recalled the initial discussions they'd had about the script, weeks before production even began.
When John Hughes first gave him the screenplay, Alex had loved the overall story, the humor, and the character of Jake Ryan. However, there were three specific points he felt strongly needed addressing, leading to a frank discussion with the writer-director.
The Aftermath of the Party: In the original draft, after the wild house party scene, Jake Ryan finds his girlfriend Caroline passed out drunk. He talks to Farmer Ted, making crude remarks like Caroline is "passed out cold. I could violate her ten different ways if I wanted to," before encouraging Ted to drive her home, adding cynically, "She's so blitzed she won't know the difference."
Alex had objected firmly. "John," he'd argued respectfully but directly, "I can't say those lines. Think about having a daughter, maybe Molly's age, watching this. That dialogue normalizes something truly ugly. Jake can be conflicted, even frustrated with Caroline, but he can't be predatory."
After some debate, they rewrote the scene. Now, Jake expresses genuine anger at Caroline for the state of his parents' house but acknowledges his own conflicted feelings – all he can think about is Samantha, making it wrong for him to be with Caroline in her current state. He then asks Ted to drive her home, not as a setup, but out of a reluctant trust: "Take care of her, Ted. You're weird, but I trust you."
The Morning After for Ted and Caroline: The original script had Caroline waking up in the car beside Ted the next morning, disoriented, saying she was "fairly certain they had sex" and maybe even enjoyed it, though neither could remember it clearly.
Again, Alex raised a red flag. "John, this plays like date rape, even if it's ambiguous. It makes Ted seem terrible, regardless of intent, and puts Caroline in a horrible position."
Hughes, focused on the comedic potential of the awkwardness, initially resisted. But Alex persisted, arguing for character integrity over a cheap gag. They compromised on a revised version where Caroline wakes up, sees her dress is still properly on, realizes Ted acted honorably, thanks him sincerely for not taking advantage of her, and gives him a meaningful kiss – a moment of genuine connection born from respect, not violation.
The Character of Long Duk Dong: Alex expressed discomfort with the foreign exchange student character, finding many of the jokes rooted in "potentially offensive stereotypes" of Asian people. He felt the humor punched down and relied on tropes that felt outdated even then.
On this point, John Hughes stood firm. He defended the character as broad comedy, perhaps not fully seeing or acknowledging the harmful stereotyping Alex pointed out. He refused to make significant changes to Long Duk Dong.
Alex, having won concessions on his first two, more critical points regarding Jake and Ted's characters, decided to compromise, accepting that he wouldn't win every battle. He got two out of three major changes he felt were necessary.
Now, watching the dailies and seeing the revised scenes play out, John Hughes had to privately admit Alex had been right. The changes hadn't just appeased his star; they had genuinely improved the script. By removing the uncomfortable, potentially damaging lines and implications, Jake Ryan emerged as a more complex and genuinely likable romantic lead, and Farmer Ted remained an endearing geek rather than a potential predator. Alex's instincts, Hughes realized, weren't just about protecting his own image; he had a good sense for story and character integrity that ultimately benefited the film.