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.

Young alienation, disappointment and heartache is all a part of the first real growing up that we do.

In a good script, it's really like a treasure map. You just focus on that, all the answers are pretty much in it.

We worked six days a week [on the The Breakfast Club], so you have one day off. So on that Saturday night, it's not like we could all go out and have a drink because Molly [Ringwald ] and Michael [Hall] weren't old enough. And Ally [Sheedy] pretty much kept to herself. So Emilio and I, every Saturday night, would go into Chicago because we were shooting outside of Chicago in Des Plaines. It's so funny, because even though we might be adversaries in the film, we certainly weren't off-camera. He's a very funny guy.

Paul Gleason played the teacher. I just tortured him as best I could. 'Cause he wasn't one of the kids, you know, so it was okay. He was great.

John Hurt was incredible to work with.

Heroes always make the right decision; I find that seldom happens in my life.