Movie Madness: Part 1 720p
In this particular case, I spent a lot of time with a stack of DVDs, and what I noticed is I kept circling back to this memory I had of my father, who had grown up in Detroit and really liked telling me and my brothers about all of the things that came from the middle of the country. One of those things was John Hughes; he was enormously proud of the fact that John Hughes was a Michigander and made all of his movies proudly about the Midwest. I remembered thinking to myself, you say "Chicago filmmaker" and you could say William Friedkin or John McNaughton, or a hundred other people, but in my mind, the first name that comes forth is John Hughes. So I started thinking about that and thinking about the movies at that time that were self-consciously about the places where they happened. One night, late into the night and three iced coffees to the wind, I scrawled "Brat Pack America" down on a pad and fell asleep. That's where the idea started from. I've always been an Americana buff, so I'm always trying to work the word "America" into the things I do and actually, in this case, it made sense.
Movie Madness: Part 1 720p
Q: Your examination of the early hip-hop movies being specifically about New York was eye-opening.A: I'm sort of dubious of culture writing that assumes a part is actually a whole so I think there are books that say, "I'm going to write about the indie-rock movement of the 1980s," and they say so up front, and they set their boundaries by that, and that's what they stick to. Then there are books that say the same thing but say, "I'm going to write about the music of the 1980s," but they only write about white guys with guitars. That's just sloppy at best, and at worst it's making a lot of assumptions. I was very careful not to assume an '80s teen movie meant John Hughes and his closest disciples because I think the category is much richer than that. When I went looking, there were these two strands that popped out at me, the doppelgangers of the John Hughes movies -- the dystopian dark comedies like Repo Man and Heathers, and also the early generation of hip-hop movies, because hip-hop was a young artform perpetuated by young people.
Q: I have two teenage girls, and I know the ones that speak to them as closely as they did to me at that age are The Breakfast Club and Ferris Bueller, both of those really work for them still.A: I didn't notice this until I read some biographies, but John Hughes always operated from sort of an archetypal, slightly mythic, instead of grounded in realism, approach. He clearly makes use of lots of Hollywood archetypes. What is Sixteen Candles if not a Doris Day/Rock Hudson movie? What is Ferris Bueller if not On the Town but with high school students instead of sailors? I think the fact that those movies hold up is in part due to plots and tropes that have been with us since the beginning of moviemaking. Another part of it is due to John Hughes skill at being specific and archetypal and relatable and mythical at the same time.
Q: When you mentioned the time frame in Back to the Future it made me think of one of my favorite passages in your book about how Francis Ford Coppola's adaptation of S.E. Hinton's The Outsiders is a film shot in the '80s, set in the '60s, with the iconography of the '50s, from a master of the '70s.A: And filmed like it was set in the '30s, like it was in CinemaScope like Gone With the Wind. I think a lot of that had to do with how young S.E. Hinton was when she wrote it. She was writing a book about her peers, it was published when she was 20, so she was doing on-the-ground reporting. It was not nostalgic when it was written. This may be me being elitist, I think because the book was set in Tulsa, Oklahoma, and not in some major urban area, I think the iconography is not the leading edge. There is a reference in some of S.E. Hinton's later work to hippie kids, but even though The Outsiders was published the same year as the Summer of Love and Sgt. Pepper, it feels like it comes from an earlier era. It was coincidence that the movie was made in the '80s, 15 years after it was published. That's when it came to Coppola's attention. He had kids just the right age to read the book in school. It did dovetail nicely with the fascination with cars with tailfins, and leather jackets and greasers that was part of the early '80s culture.