A Quote by Judd Nelson
[John] Hughes is a great loss, I think. He was the first filmmaker that could look at someone who was young without seeing them as being less.
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I think saying 'a John Hughes movie' is just shorthand for a lot of people to say 'a coming-of-age story,' because I think, when you're of a certain age, that's what John Hughes means to you.
The influence of John Hughes is fully felt in the melodrama 'Donnie Darko.' This first film written and directed by Richard Kelly is a wobbly cannonball of a movie that tries to go Mr. Hughes one better; it's like a Hughes version of a novel by Gabriel Garcia Marquez.
I think when romantic comedies are done well, it's a great genre. 'When Harry Met Sally' is kind of a benchmark for me, but I'm very happy to admit that I love 'Pretty Woman.' I do! It's a great film, and so is 'Sixteen Candles.' I was a big John Hughes fan - still am. I have moments where I have to watch a Hughes film.
I grew up in the '80s and John Hughes was the filmmaker making serious movies for teenagers.
No evil is without its compensation. The less money, the less trouble; the less favor, the less envy. Even in those cases which put us out of wits, it is not the loss itself, but the estimate of the loss that troubles us.
Without my specs on, I think I look really great; then I put them on, and I scream. But at 62, I still think less is better. I use Clarins foundation, but I don't put it everywhere - I hate that covered look - so just on the sides of my nose where the veins have gone bang.
I think there used to be more respect toward young people in movies. John Hughes really respects his characters and they're given their emotional weight. He does so even with kids, but especially with teenagers.
Being anonymous is a great luxury. It's a big loss to lose that. Mostly, the loss is the ability to observe others without being observed yourself. And as an actor, that is your key tool.
The first writer I developed a script with was John Hughes, and that was 'Mr. Mom.' That was my first feature film.
If someone asked me if I could have anything in the world, what would l want? If l could own anything, like owning a piece of art, l think it would be Elton John's publishing, on his first seven albums. I don't want the money. Being able to own those songs Is like owning a painting of someone you admire.
I think that, if anything, the pageant is great for people who suffer from body issues. It's all about being comfortable with what you're given and what you have and being able to flaunt it without being insecure. It's about empowering women, not making them feel weak or less.
There aren't many such enthusiasts born. The average person is not especially curious about the world. He is alive, and being somehow obliged to deal with this condition, feels the less effort it requires, the better. Whereas learning about the world is labor, and a great all-consuming one at that. Most people develop quite antithetical talents, in fact - to look without seeing, to listen without hearing, mainly to preserve onself within oneself.
As a player, I could have the ball in my hands; I could kind of dictate what happens. I'm still learning, a young coach with young players. Sometimes I'm going to see things. They're not going to see what I see. So it's being able to translate that and help them see what I'm seeing.
First off, I love Woody Allen. His early movies, like 'Hannah and Her Sisters,' are incredible. I also love anything by Billy Wilder, Ron Howard and John Hughes. I really grew up on the Hughes films, which are the ones I go back and watch all the time, just to see how they were put together.
If there's a message to pass to people, I'd say that it's normal to be different from others, it's good to differ from one another, and we'd better look at ourselves first before we start criticising someone who looks, acts, speaks different or has a different skin colour. I'd like to continue, even at a minimal level, what John Lennon had started. If I could do as much as a bit of what he did, if I could contribute to the elimination of hatred among us, that would be a great deal.
It is impossible to think of Howard Hughes without seeing the apparently bottomless gulf between what we say we want and what we do want, between what we officially admire and secretly desire, between, in the largest sense, the people we marry and the people we love. In a nation which increasingly appears to prize social virtues, Howard Hughes remains not merely antisocial but grandly, brilliantly, surpassingly, asocial. He is the last private man, the dream we no longer admit.
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