With the '17 Again' deal finalized and financing secured, Universal Pictures turned to the crucial task of selecting a director. They needed someone who could handle the film's unique blend of comedy, fantasy, and genuine emotion. After considering several options, the studio landed on a promising young talent: Robert Zemeckis. Though relatively new to feature directing, Zemeckis had garnered attention with his energetic comedies 'I Wanna Hold Your Hand' (1978) and 'Used Cars' (1980), often co-written with his partner Bob Gale and sometimes championed by Steven Spielberg. His visual style and handle on character-based humor seemed a strong fit for the material Alex Hayes and John Hughes had developed. Zemeckis eagerly accepted the assignment, excited by the script's high-concept premise.
Nancy Jones, leveraging CAA's packaging power and the heat surrounding Alex, was heavily involved. Auditions were held for the key supporting roles, with Alex occasionally sitting in, intensely interested in finding the right actors to bring the characters he and John Hughes had developed to life.
The casting process continued under Zemeckis's guidance, solidifying the ensemble around Alex.
Finding the right young actors for the teenage roles was paramount. For Young Scarlet, the girl Mike marries at seventeen, the choice felt almost preordained. Phoebe Cates, fresh off her charming co-starring role opposite Alex in 'Can't Buy Me Love', was a natural fit.
The newcomer Nicolas Cage (nephew of famed director Francis Ford Coppola) is selected for the role of the son, Tom. He managed to convey both the character's painful insecurity and a flicker of the inner strength Mike (as Mark) would later try to nurture. His intensity impressed the director and Alex, and despite his limited credits, he won the role.
For the popular 18-year-old daughter, Maggie, another fresh face emerged. Cynthia Gibb, a talented young actress just starting her career (with recent experience on a soap opera), captured Maggie's blend of high school confidence and the underlying sensitivity that would allow her to eventually connect with "Mark" as a friend.
Casting the crucial role of Ned Gold, Mike O'Donnell's eccentric best friend and confidante, proved relatively straightforward. The character description – nerdy in high school, now a wealthy eccentric – screamed for a specific kind of comedic talent. When Christopher Lloyd, already beloved for his Emmy-winning portrayal of Reverend Jim Ignatowski on 'Taxi' and known for his unique character work, expressed interest, it felt like a perfect match. His audition captured Ned's quirky energy and underlying loyalty instantly. He was quickly offered the part.
Casting the present-day, 37-year-old Scarlet O'Donnell, Mike's estranged wife, required an actress who could convey weariness and frustration but also hint at the love that once existed. The production landed a major name: Jaclyn Smith. Fresh off her iconic run as Kelly Garrett on 'Charlie's Angels', which had just concluded its final season, Smith was one of the most recognizable and popular actresses on television. Her casting brought immediate mainstream recognition and appeal to the project.
The final piece of the puzzle was the small but pivotal role of the adult Mike O'Donnell – the character audiences would meet at the beginning before his transformation, and see again briefly at the end. It required only a day or two of filming, but finding the right actor, someone who could establish the character's mid-life crisis quickly, proved challenging.
During a casting discussion, Alex tentatively floated an audacious idea. "What about someone like... Robert Redford?" he suggested, half-joking but also recognizing the immense commercial value such a name would bring.
Nancy Jones and the producers initially dismissed it as wishful thinking. Redford was arguably one of the biggest movie stars in the world, riding high after directing 'Ordinary People' to Oscar glory just the year before. However,Redford had been recently signed with CAA, brought into the fold by Michael Ovitz himself in 1980.
Ovitz, when consulted, initially hesitated.
"Redford for two days' work? His fee would be astronomical, even for a cameo," he mused.
Still... Redford's name opening the film? The marketing value, the prestige – it was almost priceless, especially for launching Alex Hayes's follow-up vehicle. It was a high-risk, high-reward calculation, precisely the kind Ovitz excelled at. Banking on his relationship with Redford, the quality of the script, and perhaps Redford's known interest in unique projects, Ovitz decided the potential upside outweighed the risk of refusal or an impossible fee demand. He picked up the phone.
"Bob? Michael Ovitz," he began, his voice calm and measured. "Hope I'm not catching you at a bad time... Listen, I have something unusual, something I wouldn't normally bring to you, but the material is quite special." He paused. "We have a fantastic script for a film called '17 Again' – story by Alex Hayes, screenplay by John Hughes. Universal is backing it, Robert Zemeckis is directing. It's a high-concept comedy with heart, starring young Alex, who's become quite the sensation with 'Can't Buy Me Love'."
There was a moment of silence on the other end, then Redford's familiar, slightly amused tone. "Alright, Michael. What's the catch? You want me to play his grandfather?"
Ovitz chuckled. "Not quite, Bob. It's the main character, Mike O'Donnell. We just need him for the bookends – the guy at 37, stuck in his life, before the magic happens, and maybe briefly at the end. It's two days' work, tops." Ovitz knew better than to pitch it solely on commercial value to Redford. "Honestly, the script is just... charming. Clever idea. And having you open the film would give it instant weight, real credibility."
"Send it over," Redford said simply.
A day later, Ovitz's phone rang. "Michael, Robert Redford. Read the script." Another pause. "It's delightful. Smart premise, funny, got a good heart to it. Hughes can write, and the kid's story concept is solid."
Ovitz felt a surge of adrenaline. "So...?"
"So, yeah, I'll do it," Redford replied matter-of-factly. "It sounds like fun, actually. A quick in-and-out." He hesitated slightly. "Now, about compensation..."
Ovitz braced himself, but decided on transparency. "Bob, obviously your time is incredibly valuable. For the two days, considering the circumstances and the value you bring just by showing up, we were authorized to offer a hundred thousand dollars."
Redford laughed lightly. "A hundred thousand for two days? That's... generous for a walk-on, Michael." He likely knew it was far below his usual rate but understood the context. "Alright. Consider it done. Tell the kid congratulations on his success."
Ovitz hung up, a rare feeling of genuine surprise mixing with his usual satisfaction. Redford was in. The $100,000 fee, while substantial for the cameo, was a bargain for the immense publicity and prestige Robert Redford's name would bring to '17 Again'.
With Robert Zemeckis directing, a strong supporting cast including Christopher Lloyd and Jaclyn Smith, promising young talent, and now a bona fide movie legend opening the film, '17 Again' was not just greenlit; it was rapidly becoming one of Universal's most anticipated upcoming projects.