[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.

Though [John] Hughes did provide for us, if we wanted, to go to a local high school and try to blend in. Michael [Hall] and Molly [Ringwald ] already had school to go to with their tutors. Ally [Sheedy] wanted nothing to do with high school. She said, "I remember it fine. I don't want to go back." Which is great. So Emilio [Estevez] and I went. And Emilio lasted a couple hours because people recognized him from The Outsiders that had already been out, so his cover was blown.

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.

Just because you’ve only been alive for fifteen years doesn’t mean you’re less anything except old. That’s all it means. It doesn’t mean you’re less experienced. It doesn’t mean you’re less intelligent. It doesn’t mean you’re less sensitive. It doesn’t mean you take things less seriously. It’s like, these are younger human beings, meaning don’t, because they’re only ten, start thinking that they don’t know what you’re talking about -because they do. Don’t leave people out in the cold, and don’t talk down to people -don’t. It never works out.

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.

Paul Gleason he was a great guy. I loved working with him.

I would go to trials a lot in Boston, as best I could. And it's incredible that, like, lawyers that had a good case weren't dramatic at all. Lawyers that had a horrible case would sing and dance and do whatever it took to convince the jury or the judge that this guy was innocent. So that was a cool thing to see because that made me believe that what the script [of From The Hip] was doing was totally believable. Now, maybe not ordinary. But it could happen.