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

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.

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.

I love the rehearsal process in the theatre, and the visceral sense of contact and communication with a live audience.

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.

Ice-T was just a pleasure to work with. He was a smart gentleman.

I wasn't Santa in Santa Jr., but I was Santa in Cancel Christmas.