The Breakfast Club star landed her first TV role at the age of 11 in sitcom Diff'rent Strokes and went on to find fame in John Hughes' 1984 movie Sixteen Candles, which propelled her into the spotlight.
She now has three children, Mathilda, six, and eight-month-old twins Adele and Roman, with her husband Panio Gianopolous, and she's adamant they won't begin their own careers until they have completed their education.
She tells Britain's OK! magazine, "Mathilda is very wilful, headstrong and very intelligent, but so far she's shown no interest in being on stage. I think she's more of a behind-the-scenes person. That could change after college and all that. If she wants to do it, I would support her, but after college. Not as a child.
"I think that it's hard having grown up in the business. I think it's something I wouldn't want for my own children. If they want to do it later, that's great. But I think I just want them to be kids.
"I think that that's the best thing that anyone can have, whether they're an actor or not. That's what I want to have for my own family. Show business is very hard for anyone, but particularly for kids. I think without that strong family background, it's very challenging."
Parodies are a dying art. I hate to say it — because I love them so much — but over the last few years the unrelenting hacks known as Friedberg and Seltzer have systematically killed the art form with their brainless pop culture-stroking disguised as commentary. I remember the good ole’ days of Abrams and Zucker (prior to their Scary Movie entanglements) when parodies where funny precisely because they established their own voice and didn’t use the material they were lampooning as a crutch. Airplane! mercilessly mocked the bizarre run of airport disaster movies in the '70s but it also transcended easy jokes and script aping. Today thanks to inexplicable box office validation an entire generation now thinks that the “Random celebrity what are you doing here?” gag is the appropriate formula for parody.
Kick-Ass is going to put a giant boot in the face of that mentality. It is a pitch-perfect send-up of everything that is characteristic of superhero films. It is versed enough to cite convention but clever enough to find the humor in the genre’s absurdity. And the biggest advantage Kick-Ass has in the parody department is that it is unrelentingly entertaining. It seems that in the last few years terrible parodies have made undeserved fortunes at the box office while better-crafted entries have gone largely unseen. Kick-Ass on the other hand has all the necessary components to clean up at the box office and be well deserving of its success.
The performances in the film are all top notch. Nicolas Cage showcases yet again how he can make his personal lunacy work very effectively under the right conditions. The overly Leave It To Beaver dialogue he and his daughter exchange prior to assuming their crime-fighting alter egos is charmingly silly and if you don’t get a kick out of his channeling of Adam West from the 60’s Batman series when he is in the suit I highly suggest a humor implant immediately. Aaron Johnson in the title role plays the lovable loser to perfection. He brings a lot of heart to the character that drives the emotional crux of the film. And as much as Christopher Mintz-Plasse is the most recognizable young actor in the film it’s Chloe Moretz as Hit Girl who totally McLovins the film; stealing every scene she’s in. The personality comedic timing and ruthlessness that she brings to this character demonstrate a talent level well in advance of her age.
In terms of the treatment of the teenaged characters in the film this script is tantamount to something written by the late great John Hughes in so much as the teens are allowed to speak honestly and in their own limited vocabulary without the pretense of wit. I think teen comedies are improving dramatically of late but the obsession with making teens pithy wordsmiths baffles me to no end and I’m glad they were allowed to just be vulgar. And my God this thing is vulgar…and violent to boot. We get to watch an 11 year-old drop f-bombs and stab thugs in the forebrain. I mean come on the movie is called Kick-Ass for a reason and while it is a comedy the action sequences are unstoppably exhilarating.
A smart somewhat genre subversive parody Kick-Ass is also action-packed and entertaining enough to stand on its own two legs as a film and not just a lampoon. The costumes the music the fight choreography all work in harmony to bring us a blockbuster superhero film that is legitimately humorous in both its homages and honest characterizations. Do not miss this film.
"I did for the first year and a half, maybe, auditions for John Hughes - all of those films Molly Ringwald got... (I did) about 47 times each film and never got a part, so I went to Hawaii and got a job on a boat as a cook and I don't cook and I'm prone to seasickness... That didn't work." ROBIN WRIGHT on her tough times before landing a role on a U.S. soap Santa Barbara.
The Breakfast Club star joined the likes of Matthew Broderick, Macauley Culkin and Ally Sheedy for an Academy Awards tribute to late filmmaker John Hughes, who turned them all into teenage household names - and she reveals the reunion was just old friends getting together again.
She tells WENN, "We had all seen each other about five years ago when we were all together for the MTV tribute to John. We run into each other every so often. We all have very different lives and careers but we usually get together at least every couple of years for one reason or another.
"I just hope next time it will be for a happier occasion."
But she admits it was wonderful to get the chance to honour Hughes at the Oscars: "It was very emotional. It was a wonderful tribute. I was very happy to be a part of it."
The 42-year-old actress recorded her debut, I Wanna Be Loved By You, when she was just six and she completed work on her follow-up on Saturday night (06Mar10) - hours before she took the stage at the Oscars for a touching tribute to moviemaker John Hughes.
She tells WENN, "I'm really excited about it. I haven't come up with a name yet but it's with my quintet that I've been performing with a lot in the Los Angeles area."
The actress is also branching out as a writer - she'll be releasing a new book, Getting The Pretty Back, about motherhood, diet and turning 40, in May (10). And she hopes the project will lead to yet another new career.
She adds, "Maybe I'll have my own cooking show one day!"
Spader rose to fame in 1986 when he starred opposite Molly Ringwald and Andrew McCarthy in the movie, about social cliques in 1980s U.S. high schools.
The actor was part of a tribute to the late writer/director at Sunday's (07Mar10) Academy Awards.
But Spader admits he didn't watch the telecast, and doesn't understand why he's become such an influence in American pop culture.
He says, "It's funny, you do films, or a TV show, or anything through the course of your career, and your perception of it is so different than anyone else's. For me, I'll do a job because the rent is due and it's just the job. Then you meet someone 20 years later and they say, 'Oh, I saw this film and it was such an important part of my life growing up.'
"It's part of their pop culture growing up and to you it was just a blink. That film was like that... I have no memory of it."
MATTHEW BRODERICK and MOLLY RINGWALD presented a very moving tribute to late filmmaker JOHN HUGHES at the Oscars and then joined their fellow 'Brat Pack' stars Ally Sheedy, Jon Cryer, Judd Nelson and Anthony Michael-Hall and reclusive former child star Macauley Culkin onstage for recollections about working with the director. The group then saluted Hughes' family, who were in the audience at the 82nd Academy Awards.
One of John Hughes' lost movies is reportedly set for a posthumous release.
Bosses at Paramount Pictures have purchased the rights to Hughes' unfilmed script Grisby's Go Broke, about a dysfunctional Chicago family who lose all their money when the economy slumps.
Hughes quit Hollywood in 1994, but is said to have left behind boxes of notebooks and computer files containing film ideas and screenplays after his death last year.
Now the Breakfast Club director's lost script is set to go into production posthumously, with movie chiefs looking for a writer/director to update the screenplay and begin filming, according to Slashfilm.com.
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Bosses at Paramount Pictures have purchased the rights to Hughes' unfilmed script Grisby's Go Broke, about a dysfunctional Chicago, Illinois family who lose all their money when the economy slumps.
Hughes quit Hollywood in 1994, but is said to have left behind boxes of notebooks and computer files containing film ideas and screenplays after his death last year (09).
Now The Breakfast Club director's lost script is set to go into production posthumously, with movie chiefs looking for a writer/director to update the screenplay and begin filming, according to Slashfilm.com.
After making a sparkling debut in 2004 with his first feature film the slacker comedy Napoleon Dynamite offbeat writer-director Jared Hess seemed poised for a fruitful career as an earnest more accessible alternative to hipster auteur Wes Anderson. But he stumbled a bit with his sophomore effort the uneven Mexican wrestling flick Nacho Libre despite Jack Black’s desperate mugging for laughs. And he falls apart completely with his latest comedy the crude maddeningly insipid Gentlemen Broncos.
It’s a shame too because Gentlemen Broncos held so much potential. Its trailers promised a lively battle of wits between a pompous sci-fi author played by Flight of the Conchords’ Jemaine Clement and the teenage protege (Michael Angarano) from whom he plagiarized his latest bestselling novel. It could have been Hess’s Rushmore. But what the trailers don’t tell you is that Clement plays merely a supporting role in Gentlemen Broncos and that his character Dr. Ronald Chevalier virtually disappears after the film’s splendid setup. Clement is by far the best part of the film and when he isn’t on the screen the story devolves into an increasingly irksome blend of manufactured quirk and lame sight gags. Hess’s sense of humor has regressed to sub-adolescent levels with Gentlemen Broncos. Defecating snakes breast-puncturing blowdarts and jars of human testicles are just a few of the lowbrow delights that await the brave soul who attempts to make it through a viewing. When Clement returns at the end of the film and mounts a quixotic attempt to rescue it from the mire his heroic effort is sadly for naught: The disastrous fate of Gentleman Broncos was sealed long before.