[John] Hughes was well aware that to ignore the seriousness of young people is to encourage things like Columbine, so you might want to listen. And we were all pretty serious, a little bit, in high school. Some a little more than others.

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.

My Brat Pack buddies and I didn't exactly handle celebrity very well. Success at an early age is far more difficult to handle than failure.

I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role."

You just have to learn certain technical things, like where the camera is, not to block people's light in your own, to hit your marks, and that you do it kind of piecemeal.

I always thought that the badge a cop has was more like the shield that Captain America has. It's an obvious sign of good and something you'll protect other people with, but it will also protect you.

Catcher in the Rye had a profound impact on me-the idea that we all have lots of dreams that are slowly being chipped away as we grow up.