[in The Dark Backward ] Someone Who

[john] Hughes Really Wanted It To Sound Authentic. He Was A Real Collaborator. He Encouraged Us To Bring To The Material Things We Thought Were Maybe More Truthful.

Stagecoach Is Really My First Western, Actually.

We [ With Emilio Estevez] Asked If We Could Take Some Things [ In Breakfast Club] That Weren't In The Shooting Draft, But From Earlier Drafts, "can We Maybe Use This?" And Hughes Was Very Amenable To All That. And There Was Some Stuff That I Liked, And I Said, "how About This?" And He Went, "well, We'll Check With Molly [ringwald]. Those Scenes Are With Her. And If She Likes It, Fine." So It Was Just Wonderful. It Was Great.

I Think I Was, Like, 23 Or Something [on The Breakfast Club]. I Was The Oldest Of The Five. Emilio [estevez] And Ally [sheedy] Were A Year Younger. The Only Real Difference Was That Molly [ Ringwald] And Michael [hall] Still Had To Go To School. They Could Shoot, Like, A Half Day. So A Lot Of My Close Coverage Was Done With Molly's Stand-in, So Molly Could Do Her Schoolwork.

It's More Like The Inner Workings Of John Bender. He Feels Like He's Been Given A Short Shrift, He's Not Been Provided The Opportunities That Maybe These Other Kids Have. So He Feels Like He Begins In A Hole. And Instead Of Trying To Raise Himself Up, He Wants To Bring All Of Them Down. That's A Dynamic That's Pretty Universal. And So That Was The Real Foothold On That. It Wasn't Like, "oh, My High School Experience Is Like John Bender's [in St. Elmo's Fire]."