I like being a villain. Villains are more exciting. by Judd Nelson

I like being a villain. Villains are more exciting.

Judd Nelson

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Categorized in : Exciting Villain

Kim Coates is really funny. He's a blast. If you have to get beaten up and tortured, he's a good guy to get tortured by.

blast kim guy

Trace Adkins doesn't talk too much, but when he does he's got great stories. He's lived a great life.

too-much stories doe

Trace Adkins is such a great guy. Really is. And he's got that incredible voice - low, deep. He throws words around like "my dental coverage."

dental voice guy

Stagecoach is really my first Western-Western, the whole horses and gunplay. It was really fun. We shot it fast, too. We got lucky with the weather. If it rained, I don't know if we would have been able to finish it. We had like 12 shooting days for the whole thing.

horse weather fun

Fandango is not really a Western. It's really just set in Texas. It's a road picture. And then I did one that hasn't come out yet called Kreep, which is set in Texas, but it's not really a Western. But it has a more rural-Texas feel to it.

western texas feels

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

maps focus answers

If you read a script enough, especially a good script - I try to read it 40 to 50 times before you begin so you get a sense of the arc: what happens before, what happens after, what happens during.

scripts enough trying

You get the sense that [John] Hughes is so right about the way groups divide and then divide again and then sometimes align and then sometimes break apart. And this idea that Michael Hall's character says, "On Monday, are we going to be friends?" you know, based on this.

monday character ideas

[John] Hughes was open to that [rehearsal]. This can only happen if the director and/or the writer are open to that.

rehearsal happens directors

As they were building that library in that school's gym [in the Breakfast Club], they built a rehearsal space for us. It was really an empty room taped out with the same dimensions of the library. And they had the tables all there. And he had us sitting at the same table. All of us.

empty-rooms space school

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.

weekend three house

[John] Hughes really wanted it to sound authentic. He was a real collaborator. He encouraged us to bring to the material things we thought were maybe more truthful.

truthful real sound

[John] Hughes was well aware that to ignore the seriousness of young people is to encourage things like Columbine, so you might want to listen. And we were all pretty serious, a little bit, in high school. Some a little more than others.

want people school

[John] Hughes is a great loss, I think. He was the first filmmaker that could look at someone who was young without seeing them as being less.

loss looks thinking

Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.

lucky real directors

Breakfast Club was great because we had a real rehearsal, and we... by Judd Nelson

Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence.

clubs real breakfast

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.

crafts play way

You just have to learn certain technical things, like where the camera is, not to block people's light in your own, to hit your marks, and that you do it kind of piecemeal.

block light people

[Kevin] Costner said, "You don't have to do that... this is a wid... by Judd Nelson

[Kevin] Costner said, "You don't have to do that... this is a wide shot, so you can calm down."

kevin calm shots

I was trained by Stella Adler for theater so you kind of give it... by Judd Nelson

I was trained by Stella Adler for theater so you kind of give it all on every take.

stella kind giving