A Quote by Judd Nelson
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence.
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Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.
A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.
As they were building that library in that school's gym [in the Breakfast Club], they built a rehearsal space for us. It was really an empty room taped out with the same dimensions of the library. And they had the tables all there. And he had us sitting at the same table. All of us.
'Olive Kitteridge' is the only thing that I've done on camera where we had a day of rehearsal before we shot, and I'm so glad that that happened, because I was so nervous.
But, on another level it's really sort of this really cool coming of age story, it reminds me of like The Breakfast Club or something like that, if I can be so bold to associate with The Breakfast Club.
And when I say [M2 was] lo-fi production, it was so great and grimy. I was used to that world anyway, because we shot in bars, we shot in thrift shops, we shot on the street. And the bars, they would have just opened, and still there was barf on the floor and beer. We certainly kept it real. It was a small crew.
It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
We just started filming, and after every scene was shot, we had a rehearsal for the next one.
It's great when somebody is able to communicate an actual shot sequence to you and you know the world you're inhabiting with that. It's literally a haunting tune.
I had other interesting offers, but for me, it had to be a top club. When you look at Arsenal, with a fantastic manager, good environment, and never any bad press surrounding the club, they are playing attractive football and have a great stadium with great fans.
Real Madrid are an exemplary club. I would never have had the chance to play for this club for such a long period had I really been such a crazy, violent player.
I remember Emilio [Estevez] and I were at John's house during the rehearsal process. And John [Huges] had mentioned he wrote the first draft of Breakfast Club in a weekend. And we both at the same time went, "First draft? How many do you have?" And John said he's got four other drafts. And we go, "Can we read them?" And for the next three hours, Emilio and I read those other four drafts.
You can't swing with hesitation; you can't try to steer the ball to the flag; you can't worry about that water hazard as you take the club back. You have to pick the right club, visualize the shot you want to hit, and then focus on that shot until the ball is gone.
I'm a kid who did stock and summer youth theater where we'd put up two shows and you had no rehearsal. I've also understudied, where I've had to go on with no rehearsal.
He loved telling stories. He had been everywhere in the world. The northwest frontier, the landscape of the Hindu Kush, was one of the great landscapes of my childhood because he used to evoke it with his stories. He taught me the sequence of ranks in the British army when I was about eight. I was in the bed with him while he told me everything about his life - except, probably, the real things, because of course you couldn't go there.
We had no money, and we had to go through 'punk' school. We ended up living in the rehearsal room that used to be the Sex Pistols rehearsal room at Malcolm McLaren's office. So we had this sort of interesting beginning.
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