Jaime Clarke - Dont You Forget About Me: Contemporary Writers on the Films of John Hughes

My heartfelt thanks go to the contributors of the fine pieces that make up this anthology. (Special thanks to Emily Franklin for all her help.) Too, Id like to thank Ryan Fischer-Harbage for his steadfastness and for being the bridge to the equally passionate Terra Chalberg, editor extraordinaire. Thanks also to my wonderfully astute agent, Lauren Abramo, a perfect match a long time in the making. Finally, thanks to Mary Cotton, who graciously acted as research assistant for this anthology but who is so much more.

John Hughes came into my life in 1984 and changed it forever. I dont believe that is an overstatement. He gave me the role of Allison Reynolds, which, I now see, was the role of a lifetime. The Breakfast Club has had such a long life, and who could have predicted that? It still isnt dated and seems to be approaching the status of a classic.

When I go to pick up my daughter from school, the high schoolers and middle schoolers come up to tell me how much they love the movie. I know that kind of attention used to bother Rebecca, but now, at twelve, she thinks its pretty cool. And so do I.

John is a creative, open, appreciative, and honest director. He is the only writer-director with whom I have worked who is courageous enough to truly let his script go. He was never tied up or locked into chaining any actor to exactly what he wrote when it clearly didnt work. Or when there was a better choice. I think perhaps the only misstep we made was in changing Allisons appearance so drastically at the end. But even there he was open to a modification. I felt that Allison covered herself up to hide. The hair in the eyes, the white makeup and dark eyeliner. She looked fierce and hostile, which he loved. Underneath, of course, she was in great pain. I did not want her to apply even more makeup to change herself.

So what did he decide to do? First of all, he departed from his original idea of having her go through a traditional makeover. I wanted her to be uncovered, to emerge. Instead of having Molly Ringwalds character, Claire, paint her face, he decided Claire should be removing the harsh mask. I wanted the hair to come away from the face. Allison had been hiding behind it. Unfortunately, we ended up with a lace bow la Madonna. Remember, this was the 80s. Also, we ended up with a pink, pretty top that was supposed to be an undergarment. Of course, in retrospect, I realize she would never have worn that. It should have been a sleeveless mens undershirt. But the point was Allison should have been transformed into a beautiful girl. I guess beautiful by a movies definition. I think we probably should have left her alone or tried something a little less drastic and more original.

However, the fact remains that John changed the scene and the intent entirely. I cannot tell you how rare this is and how generous. The change came out of the way the movie was unfolding and especially the way the characters were developing. He trusted us. I felt trusted and appreciated. I felt seen and heard. Not just in this sequence, but through the whole filming. It gave me great courage and unlocked my imagination. I was never afraid to try new things or to go where Allison was taking me.

Another instance of this was in the pot-smoking scene. I didnt think Allison would risk the effects of marijuana. Especially the possibility of paranoia. She was already in that state. I didnt want her to suddenly open up her bag (and her mouth) to strangers because she was high. I thought it should be a conscious, brave decision. He understood me and agreed. He actually let me film an entire unscripted scene that involved a set change, rocking on a table, crying, and a Phil Ochs song just because, I guess, he liked the idea. Again, almost no one will do this. He wanted to see what would happen, how it would play out. The scene didnt make the final cut. He told me the powers that be thought it was too weird. But he gave me a real transition for her that carried her over a dangerous precipice in the story and took me on a ride through the rest of the movie.

I keep emphasizing trust because it is so unique and sort of brave in the process of making a film. John simply delegated other jobs to the talented people he had hired and spent his time working with us. Tom Del Ruth was our director of photography, and John would check the camera angle right before we shot and then go back to working with us. He never fussed about a setup, he never got involved in a technical argument. He wisely conferred mostly with Dede Allen, who was our brilliant editor and who worked in a room in the high school, editing as we went along. I never felt he needed to assert any kind of position of power.