‘The Breakfast Club’ Stars Reunite for First Time in 40 Years, Reflect on Why Film Wouldn’t Be Made Today

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40 years after the initial release of “The Breakfast Club” in 1985, its main cast members – Molly Ringwald, Emilio Estevez, Judd Nelson, Ally Sheedy, and Anthony Michael Hall – appeared together for the first time since then at the C2E2 convention in Chicago on Saturday. They participated in a discussion marking the film’s 40th anniversary.

Ringwald expressed deep emotion and joy at having everyone gathered, explaining that this was the first time Estevez had been present with the group before. He no longer needs a cardboard stand-in since Estevez is actually here. Ringwald was genuinely touched to be reunited with all of them.

Estevez humorously admitted he missed all his actual high school reunions, but attending this particular event seemed important for personal reasons. He found it particularly significant because the film was made in Chicago. Additionally, it being the 40th anniversary and everything feeling timely made him decide to come. When someone asked if he didn’t like them, Esteves replied that wasn’t true, and his love for everyone was evident as he showed up at the event. Hearing Molly question his feelings about them, though, had touched his heart.

Discussing their initial encounters, the group reminisced about their memorable meetings – a gathering taking place with John Hughes’ son and grandchildren in attendance. This special occasion brought back memories of an early table read where Estevez had recently had his wisdom teeth removed, causing him to faint as Hughes shared the first cut of “Sixteen Candles”. Additionally, they talked about the filming process, as Ringwald revealed that Hughes initially intended to make “The Breakfast Club” first. However, after writing “Sixteen Candles”, the studio chose to prioritize this movie instead.

In summary, John Cusack was supposedly cast as Bender and Joan Cusack as Allison in the original ‘Breakfast Club’. It’s unclear who was set to play the other roles. Ringwald mentioned that after ‘Sixteen Candles’, Hughes initially discussed with her playing Allison but she preferred the role of Claire because she felt it was less like her. Later, auditions for the remaining roles took place in Los Angeles.

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During their discussion, the actors enthusiastically shared stories about working with Hughes, praising him at every turn. Nelson remarked, “He’s the first writer who could create young characters without making them seem immature or older,” and Hall, reflecting on his 49-year acting career, stated emphatically, “No one has ever come close to matching that experience. No one has even approached the magic of working with that filmmaker.

Nelson expressed that the project felt incomplete, as if we were all waiting for a reunion – due to the numerous queries about ‘Monday’s events’. The film emphasizes that each person must individually decide their fate on Monday. Nelson personally felt like one shoe was missing, and that could only be filled by John. His passing had a significant impact on Nelson, as it seemed the work would always remain tilted in one direction without John to balance it. Hughes was supposed to show us where we intersect in the end, but with him gone, we won’t get that insight, which is unfortunate. However, in a way, Hughes was encouraging us to think independently.

During interactions with fans, the cast pondered if the movie would be produced or hold the same impact today. Estevez noted that modern films tend to be centered around concepts rather than characters, but John focused on characters first. In fact, if one were to pitch this film today – five kids spending their time in a library due to detention – studio executives might question its appeal and ask where the monsters are, or where the car chases and grand effects are found.

He went on to say, “It’s crucial to note that we produced this film with a budget of $1 million, a substantial amount at the time, though relatively small compared to Universal’s current standards. Back then, it wasn’t considered a large-scale blockbuster like today’s tentpole films. Given the risks involved, it’s fascinating to think that such a film might not be produced under today’s financial expectations.

Ringwald contemplated while revisiting the original script, “I’m not convinced about remaking this film, as I feel it’s deeply rooted in its era. It strikes a chord with audiences now, but I prefer creating films that draw inspiration from existing works while also reflecting current events. To be clear, this movie is quite homogeneous; you don’t see diverse ethnicities or gender issues addressed within it, and I believe it fails to mirror our contemporary world. I’d love to witness remakes that build upon the foundation of The Breakfast Club, but take a fresh approach.

For those who couldn’t make it to Chicago for C2E2, panel recordings can be watched here.

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2025-04-12 21:54