I have adopted clothes from all the projects I'm in. It's really been a while since I've bought anything myself.

We tried the first evening to go down Division Street and Rush Street, but we couldn't get in anywhere because they didn't like [ Emilio Estevez] sneakers and they didn't like my boots. This was 1983 or '84, so it was ridiculous. We ended up at a jazz club, where you go downstairs and there's a very cool place.

All of the directors I've worked with I have loved and would work with again. I have no favorites.

You have to be so confident and so gifted to fill five minutes of nothing at the very beginning of a play before even a word is uttered.

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.

I put less stock in others' opinions than my own. No one else's opinions could derail me.

It's strange, 'cause a play, you start at the beginning and you go all the way through to the end. So it's naturally very well rehearsed and you get a rhythm and a flow. In film, you can shoot the ending before the beginning. It's very odd. And it's like a craft you have to learn.