From GQ:Gant by Michael Bastian
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Mr. Hughes, who died last year at age 59, will be the subject of a two-day celebration,“John Hughes: We Can’t Forget About Him,”being held by the Film Society of Lincoln Center. (A. O. Scott of The New York Timesappraised his work here.) On Sunday, the society will show five of Mr. Hughes’s films, including “Sixteen Candles” and “Pretty in Pink,” at the Walter Reade Theater. And on Monday, a screening of “The Breakfast Club” at the Paris Theater will be followed by a Q. and A. with Ms. Ringwald and her cast matesAnthony Michael Hall, Judd Nelson and Ally Sheedy, conducted by Kevin Smith.
It’s often said about John that he was a rare adult who knew how to write for young actors. Could you sense that just from his screenplays?
Absolutely. So many scripts I would read – and I still find this to be the case – whenever there was a teenager, it just does not sound remotely like a teenager. It sounds like it’s written by an adult for a kid. And then the kid actor is trying themselves sound like a kid, and they just don’t. For some reason, when I read John’s dialogue, it was totally unique. It was like his own language. But it made sense. I didn’t necessarily hear anybody that was talking like that. But we could.
I read “Sixteen Candles” in the back of my parents’ car, and I kept laughing out loud. And I was reading them these random bits of the script, and they were like, all right, we’ll take your word for it, it’s funny.
Was it bittersweet for you as your film career diverged from John’s?
Yeah. I was ready to graduate, as it were. I really wanted to work with other people, and I think I was sort of nervous about only being associated with this one director. If I look back on it, I try not to have regrets about anything, but I do wish that I would have not worried about that so much. I wish, in a way, that I wasn’t in such a hurry to grow up. Because when you’re that age, you just think, Nobody’s going to see me as a grown-up. And you don’t realize how fast you’re a grown-up. [laughs] I always felt like John and I would work with each other again. I liked the movies he did after, and as I said in my Op-Ed piece, they’re really wonderful movies but I feel like his heart wasn’t connected to those movies in the same way.
Did you continue to keep in touch with him during this time?
Not really, no. He kind of sequestered himself. He moved back to
. He didn’t really have much to do with Chicago . I can’t speak for him, but I felt like he felt rejected in some way by me. But I did write him a letter when I was living in Paris, and I got back this enormous bouquet of flowers, so I felt good to know that I did connect with him, that he read what I wrote and it meant something, so I’m really grateful for that. Hollywood
By Jack RobinsonWell with the new Vacation DVD coming in August and Warner Brother’s refusal to give us decent Special Features I thought I would show case some of the “lost Griswold footage,” including the famous lost ending!
Like most R rated films of the day many scenes were filmed with alternate lines specifically to be used in the television version of the film. These include:
Clarkask the African American Pimp for directions he responds with "Who do I look like, Christopher Columbo?" instead of his R-rated response.
Eddie's daughter credits her science teacher, not her father, with saying she's the best at french kissing.
When they lose the small suitcase while driving, in the movie version,
Clarksays the only thing that can't be replaced that was lost is Ellen's diaphragm, which is changed to birth control pills for the edited version.