Film Thought: Who Would Play You in a Movie?

How many of you have thought of the hypothetical question of who would play you in a movie of your life? It’s not the most unique query in the world. I assume there are a few. I gave it the occasional thought when I was younger, but never thought about it again until recently when asked.

More often than not I will admit I’ve considered what my life would be rated by the MPAA (can anyone get away without and R or higher knowing them?). I’ve also considered the end credits. Which are both very hypothetical and nearly metaphysical considerations. Who’s watching said movie to rate it or see the credits, is akin to the Theory of Size questions or other existential ponderings usually reserved for the very young.

Theoretically, someone making a movie about your life is a more feasible concept. What’s funny is that I have thought about this question more for people in my life than myself. Maybe the reason for that is how we all view ourselves, but I’ve had certain actors pinned down as certain family members for a long time: Melanie Griffith, Julia Roberts, Steve Martin and so on.

Casting a story based on my family is much easier. Myself? Not as much. If you want a reference point as to what I look like you can check out a photo on my Twitter. Let’s look through some of the ideas. One way to look at it is: who have people told me I remind them of? I can only readily recall two. When I was younger people used to say I reminded them of Fred Savage on The Wonder Years. However, I have a feeling a lot of kids got that around that time. Even if we did look like each other once upon a time, we no longer do.

A few people have told me I seem to resemble Roger Federer. I contest this notion, but even if I do, unless I wrote myself into some weird biopic/Tennis version of Space Jam that wouldn’t make sense anyway. The only actor that ever really came to mind is one I haven’t watched that much of recently, but was one of my favorites growing up, and one I’m looking forward to seeing in Maniac; Elijah Wood.

Now, to state the painfully obvious, I do not look like Elijah Wood. If this hypothetical film were to exist I’d be getting upgraded. If you’ve ever been introduced to a historical figure in a film typically the Hollywood edition is a bit of an upgrade to the original when you discover what they look like. My case would be that to the nth degree. However, another factor would be that we’re very nearly the same age. Yes, actors often stretch their range by a number of years, but since I have no obvious doppleganger I’ll limit it to people around my age. Second, his onscreen persona has always seemed somewhat similar to mine in life I feel. When he angers he may need to get louder, but I’m sure he can manage. Lastly, since he’s become a mature actor and gotten into social media Elijah has proven himself to be quite a film enthusiast. So there’s another reason.

Yeah, my choice isn’t a dead ringer, but it’s one I’d be pleased with. How about you? Who would play you in a movie?

Once Upon a Time in the 80s: Parenthood (Part 13 of 17)

Warning: this article features in depth story analysis and several plot points are revealed. If you have not seen the film, read at your own peril.

What The Neverending Story is to 80s fantasy Parenthood is to the family film of the 80s, although I doubt you’ve ever seen anything like it before or since. The film was written by Babaloo Mandel and Lowell Ganz a writing team that date back to the 70s working on Laverne and Shirley and they still work together, which is a rarity in this day and age. They’re credits include Gung Ho, Multiplicity, A League of Their Own and Spies Like Us and Parenthood was directed by Ron Howard who has always made pretty good films. 


This film has one of the best opening scenes. A father (who will later be Jason Robards) brings his son to a baseball game but has to go see some clients so he leaves him with an usher and it’s his 9th birthday. The usher sits next to him and starts a conversation the boy responds and says “You’re not really here. You’re an amalgam. A combination of all the ushers my dad left me with over the years. You see my dad, when he was a kid, was without a positive male influence,” and so on. This is hysterical dialogue coming from a kid and there’s a partial break in the fantasy and we see his wife, Karen (Mary Steenburgen); still as a kid he tells the usher that’s his wife. “The game’s over, honey,” and the fantasy is broken. We see Gil (Steve Martin) get up, no longer a boy but a middle-aged father of three.

Parenthood (1989, Universal)

That sets the stage. What’s different about Parenthood is that it shows many of the problems a family can go through by depicting an extended family that has more interaction than most American families. Gil and Karen’s main concern is for their son Kevin who has emotional difficulties and gets too tense at school. We witness their struggle against the public school’s administration who want to label him ‘special’ when we can clearly see he’s a normal child. Then there are his sisters Susan (Harley Kozak) and Helen (Dianne Wiest). Susan is married to a super-genius, Nathan (Rick Moranis) who is grooming their daughter Patty to be a genius as well. He gives her vocabulary flashcards and teaches her complicated algebra and reads Kafka to her, although she’s just four. Helen, meanwhile, is divorced from her husband and left to raise the rebellious and monosyllabic Gary (Joaquin Phoenix f.k.a. Leaf Phoenix) and the love-struck Julie (Martha Plimpton). Then there’s Larry (Tom Hulce) the get-rich-quick-schemer who never worked a day in his life who comes home to a family reunion with a son named Cool, who’s black. His explanation being “I was dating this show girl; she was doing this show Elvis on Ice. Anyway, she shows up with Cool one day and says ‘You take Cool. I shot someone. I have to leave the country. That’s a parent?’ Then of course, the patriarch, Jason Robards, who has some difficult decisions to make along the way.


These sagas play out so cleverly and realistically and everything in this film just works. Gil and Karen refuse to have their son put in special education and they say they’ll take him to a therapist and send him to a private school rather than have him stigmatized. What really works about the meeting is that at first there is finger-pointing but they are also defiant of the public school system, which just doesn’t work. Gil promises to get a second job and his job, getting more clients and trying to work more hours becomes a crucial part of this film. Towards the end of the film after Gil is passed over for a promotion in favor of Phil Richards, a man who is a ghost in this film, we hear about but never see him, who is single and has time to tender to his clients every need; Gil in a fit of rage quits. He comes home and his wife tells him she’s pregnant. This is one of the few films in the 80s that actually deals openly with the issue of abortion. And it’s even more difficult to do in a comedy but it’s very well-handled. We also hear some of Martin’s funniest lines here: “Let’s see how we can screw the fourth one up? Hey, I know, let’s have five, let’s have six, why don’t we have a dozen and pretend they’re donuts?” In the end they have their baby and what’s great is that Kevin does have his shining moment by winning his team a baseball game but it’s not a cure-all he goes on living day by day that won’t permanently fix the problem, just like Gil saving his birthday party didn’t as Karen pointed out, and that’s real.

Parenthood (1989, Universal)

Susan’s struggle is that she finds no romance in her life anymore and she’s frustrated that Nathan’s only concern is turning Patty into the next Kierkegaard. When she tells him they could go to Mexico over the summer he immediately thinks it’s a great chance for Patty to learn Spanish. Susan’s suggestion that she stays at Gil’s is shot down because he doesn’t like her being there. So when Nathan says we’ll get two rooms, she asks herself “Which one will I be in?” While Gil and Karen go through a crisis with their children and how best to raise them Susan and Nathan’s relationship is on the brink of falling apart. At one point, Nathan finds her diaphragm has holes in it and it starts a major fight because everything is academic with him and you must wait five years between having children. Susan is so frustrated by her relationship with him that she breaks up via flashcards. Yet we see that all she wants is to be wooed when Nathan comes into her classroom where she teaches one day singing their wedding song. At the end of this film, they’re happy and Patty has finally been allowed to be a child which was one of their major arguments.


Helen’s is the most difficult and heartwarming of all the family conflicts overcome in this film. Despite all the seemingly melodramatic events in this film it is most definitely a comedy but a very intelligent and well-constructed one that has something to say. Julie is madly in love with Tod (Keanu Reeves). We’re introduced to her as she’s hiding Tod under her bed. After her mother leaves he comes back out and they start to make love and he takes pictures. We don’t see anything and it’s very tastefully done, but the story takes a great twist. One of the best moves by the writers is the pictures. Julie and Tod go to a one hour photo booth and pick up their photos and see their mother at a work party. They go back to see if there’s another envelope for Buckman and find it was already picked up. When Julie gets home this leads to a fight that has her leave the house and move in with Tod. The fight also has some of the best lines of the film in it. Helen is looking at the picture and says “Woo, here’s one for my wallet.”


Parenthood (1989, Universal)

Through the whole movie Helen can’t get through to Gary until she breaks into his padlocked room and finds a stash of porn. After Helen talks to Tod she finds out that Gary had felt like a pervert until they had talked. See even the brain-dead boyfriend in this movie serves a purpose? Julie comes home married and her troubles with Tod escalate. Helen goes out with Gary’s science teacher and it all ends with Julie also giving birth. Now many people have overemphasized the “giving birth as a road to happiness theory” in this movie and that’s just rubbish. First, to make a happy ending and have everyone reunited; where better than a maternity ward? Secondly, the births are symbolic of life going on and the families moving on and moving past their problems, and are not to be taken in an overly-political way. Helen, for example, found peace within her family before she and her daughter gave birth.


What also makes this movie different is that there’s not a happy ending for everyone and not everyone sees the light, so to speak. Part of the strength of this film is that Larry never changes. His father has a restored car that Larry drives off with and has appraised because he owes gangsters $20,000. Prior to this encounter Frank, the father, talks to Gil and asks his advice because he knows Gil is “a good father,” and they share their miseries and the most poignant line of the film the father says “It never ends. It doesn’t matter if you’re 30 or 40 or 80, he’ll always be my son, just like Kevin is your son.” Towards the end Larry comes to his dad asking for help paying them off because he blew the money he’d gotten earlier at the track. If he doesn’t come up with the money he’ll die. In a very poignant scene we see Larry waiting by shaking his watch back and forth on his wrist. His father will pay them $1,000 a month but the worst part of it for us is that he’ll have to put off his retirement. Larry is so self-involved that not only has he found another shady business deal, this time in South America, but he almost forgets Cool and his father spares him the trouble and says he’ll take care of him.


Parenthood (1989, Universal)

In all this drama it’s hard to see the humor in the film so here’s some: When Tod begs Julie to come back after a momentary breakup she says “I wouldn’t live with you if the world was flooded with piss and you lived in a tree,” when Larry comes home Gil’s son Justin asks “Who’s that?” Gil responds “It’s my kid brother, Larry, your uncle. Don’t give him any money.” And the list goes on and on. This is truly a great movie about how insane family life is and how we tend to need each other anyway. This film made nearly $100 million when it was released in 1989 yet, oddly, I’ve heard few people talk about it. This is probably Steve Martin’s best work before he started writing and showing us his intellectual side, not that this film isn’t smart, but it’s no Picasso at the Lapin Agile. This is most definitely one of the most underrated films I’ve ever seen and a quintessential 80s comedy that no one can top.

My Year in Film: 1987

So here’s another retroactive list from me. I think it’s safer to assume that this one is more tinged with nostalgia than the 1994 one. In this case, I believe a majority of the films included are ones I saw during or shortly after the year for the most part. Well, in terms of the American releases. Now, in 1987 I was five and six years old, meaning I was just starting my schooling.

I believe most of the films I saw were video or HBO selections. I specified American films above because there are some great foreign titles, that need no disclaimer, which I discovered later on that were released in this year. As for the disclaimer: you see what my relative age was when the films came out or when I got to see them, therefore that is your grain of salt. Again, as I did before, I will stress that the way I assemble this list is usually based on its noteworthiness in my estimation and not necessarily its impeachable quality. However, I will discuss that a bit with each film that’s included.

One thing that’s interesting to note is that this post serves a function as a replacement (and possible prelude) to a series I wanted to do this year. If you take 25 years of age as the youngest a film can be to be considered a classic then the film class of 1987 would be eligible this year. It’s interesting to examine what holds up and what doesn’t after all that time.

Some personal entertainment-related milestones for the year include: my favorite thing in the world was ALF (such that I had a lunch box and much more) and if memory serves I was a year away from my first theater-going experience. For I seem to recall that being Bambi and per the IMDb the only re-release I would have memory of occurred in 1988. Also, I don’t think I watched the Super Bowl for another few years but I knew that the Giants had won.

Without further ado, the list, which is in no particular order:

1. Blind Date

Blind Date (TriStar Films)

Of the 80s movies that made Kim Basinger a star, and for a time one of my favorite actresses, I’m not sure I like this more than something like My Stepmother is an Alien, however, both that and this are so hazy in my memory I can’t honestly tell how they hold up, but I remember adoring them at the time and it’s definitely a marker for the year.

2. Amazing Grace and Chuck

Amazing Grace and Chuck (TriStar Pictures)

In a paper I wrote about the 1980s I discussed this film at great length. It was a truncated repost on this site that I’ll start over, however, suffice it to say I think there are few films that are as resoundingly a product of their times than this is. I discovered it much later and love it.

3. Innerspace

Innerspace (Warner Bros.)

I’m not sure it’s possible to chronicle a year in 1980s without including a Joe Dante film. As is the case with a lot of films on this list I haven’t seen them in a while but I think this film, for quite some time, has been overlooked and dismissed unjustly.

4. Roxanne

Roxanne (Columbia Pictures)

This is one of Steve Martin’s best balancing acts between his comedic and dramatic talents. His put-down monologue is fantastic and I still quote: “It must be great to wake up in the morning and smell the coffee…in Brazil” often.

5. The Lost Boys

The Lost Boys (Warner Bros.)

I was a late-comer to the horror genre so I didn’t discover this film until later on. And as if to underline my point, few and far between are those who dislike this film, therefore when I can defend Joel Schumacher I do. You can knock some of his films but not all, not even close.

6. The Monster Squad

The Monster Squad (TriStar Pictures)

The rise to cult status of The Monster Squad is truly amazing and practically unprecedented and I’m a small part of the years later surge in its popularity. I saw it many years after its release on VHS and loved it. I now have it on DVD and I get why it’s adored and also why it flew under the radar in its initial release.

7. The Curse

The Curse (Trans World Entertainment)

As I’ve mentioned previously, few films exemplify the alchemy of horror better than this film. It’s got a lot going against it but it still works very, very well.

8. Hellraiser

Hellraiser (New World Pictures)

I was first introduced to this film in a horror class I took in college. It just keeps getting better with age like a fine wine. It also stands as one of two films that have gotten me literarily smitten with its writer, in this case Clive Barker. I immediately started chasing down his books after seeing this and Candyman in the class.

9. Baby Boom

Baby Boom (United Artists)

Here’s another I’ll admit is cloudy but I do remember watching it quite a bit on HBO back in the day, and I believe that many of the Diane Keaton films I saw were partially a result of this film. Not to mention that as silly as it may be it is also a sign of the times. Women still had some strides that needed making in terms of equality, and this was one of the films and/or shows that was broaching that subject. Perhaps, not the best or most serious but noteworthy nonetheless.

10. Hope and Glory

Hope and Glory (Columbia Pictures)

This is another film I discovered later on and it is also a film that is exponentially better on the big screen. I discovered it on video. I was fortunate enough to see it introduced by John Boorman at BAM Rose Cinemas in Brooklyn. The viewing was very memorable but I’ll be eternally thankful for the response he gave my question about casting a young lead. It helped me a great deal in preparing for an upcoming production.

11. Planes, Trains & Automobiles

Planes, Trains & Automobiles (Paramount)

This one is a favorite for so many. As I often say John Hughes created innumerable new templates for story that were used in film and television alike. This one is no exception, while many avoid the twist in the tale the framework has been re-used several times as has The Breakfast Club, Ferris Beuller’s Day Off, Sixteen Candles and so on.

12. Au Revoir Les Enfants

Au revoir les enfants (Orion Classics)

I can’t say I’m a completist with his work but I love Louis Malle. In this film he tells a very personal story and you can feel that throughout the film it’s really its most remarkable quality.

13. Empire of the Sun

Empire of the Sun (Warner Bros.)

I saw this film many years after its release. I saw it sometime in the summer of 2001. I remember the date specifically because after multiple viewings my opinion of Artificial Intelligence: A. I. had solidified and having had a Spielberg class and hearing things like “this is his most European film” but not being able to see it I was very anxious. Being properly prepared for it in all regards it blew me away. I love it.

14. Wall Street

Wall Street (20th Century Fox)

This film I remember viewing in a high school economics class the first time around. Now there was a slightly more cynical, realistic approach that the teacher employed when discussing it, and he had his motives for showing it but not only was it a victory for me against an attempt pedagogical indoctrination, but I still really enjoyed the film a great deal. That is not surprising as it was during Oliver Stone’s heyday.

15. Throw Momma from the Train

Throw Momma From the Train (Orion)

This is another one I’m far removed from seeing but the premise is outlandish and it’s made to work thanks to the casting of Momma, but then you also have Billy Crystal and Danny Devito working together, so my childish sense of humor (which for the most part remains in tact) adores it.

16. Overboard

Overboard (MGM/UA)

Amnesia it seems was big in the 80s, at least I think it was I can’t remember (I’m so sorry). It was an oft-used theme then it seems but this was the best take. There aren’t many great tandems anymore but this one was a match made in cinematic heaven regardless of material and cheesy posters.

17. The Grand Highway

The Grand Highway (Miramax)

This is a film I discovered quite some time later. I think it’s likely the most overlooked of them all. This film did get a US remake, which I discuss here. I think this is a really great film that more people should see. I wrote about the remake of this film and will re-post that series here.

18. Um Trem Para As Estrelas

Um Trem Para As Estrelas (FilmDallas Pictures)

Another staple on these lists, when I can find one, will be a Brazilian film. This was a pivotal time in Brazil politically as the country was making the always difficult transition from a dictatorial government to a democracy. That serves as the backdrop for this coming of age tale. The film also portraits Brazil’s vibrant pop music scene of the era with many performances by popular artists included. I remember I rented this from Movies Unlimited back when they had a physical location, and while deliberate in pacing I enjoyed it a great deal.

19. Mio in the Land of Faraway

Mio in the Land of Faraway (Miramax)

A lot of funny things and parallels come to mind when there’s mention of this film. First, this seems to be my obligatory Christopher Lee title. Second, here’s Christian Bale’s second appearance on this list, in his neophyte, pre-bad press phase. It’s also strange in that it’s an all English-speaking cast enacting a foreign fairytale, similar to the The Neverending Story with much less press in the US. This one also only was released in the US in 1988. I really do like this film for the narrative, the lead performances, and because it’s good cheese. I can’t argue there’s none here.

20. Pelle the Conqueror

Pelle the Conqueror (Miramax)

In my retroactive BAM days I placed this film as an ’87 release even though it made its splash globally the following year, seeing as how this list is in retrospect I’ll place it here. Not only is this a great film wherein Bille August burst on to the scene but it’s yet another great performance in the career of Max von Sydow. It’s also an incredibly moving film.

21. In a Glass Cage

In a Glass Cage (Cinevista)

If there was ever a director to which the term no-holds-barred applied without question it’s Augusti Villaronga. There are likely synopses that give away only what is necessary to discuss the film, I’d rather spoil nothing about this film except to say this film is not for the faint of heart or the queasy. Even if you’ve seen many films, few are this dark and disturbing. It relishes in making you uncomfortable. It’s likely not a film you’d want to see more than once but perhaps what’s most effective is that it pushes your buttons regardless of what’s happening.

22. Bad

Bad (Epic Records)

Two things straight off the bat: If I could’ve included Madonna I would have but “Open Your Heart” as a video came out in December 1986. As for what a music video is doing on this list, I had a short film in my 94 list and I did write (not yet reposted here) after Jackson’s passing about how his videos were more cinematic than most and in the 80s they were more story-based in general. It may not be quite the production that Thriller is but there’s no bothersome disclaimer at the front and this one was directed by Martin Scorsese so it has more than enough merit to it.

23. La Bamba

La Bamba (Columbia Pictures)

I was, as were many of my classmates, quite literally obsessed with this movie and Richie Valens for quite a long time after it came out.

24. Ernest Goes to Camp

Ernest Goes to Camp (Buena Vista Pictures)

Writing a blurb for a Ernest movie is simple: either you like this character of the late Jim Varney or you don’t. I always liked him even though I saw this film later on.

25. The Garbage Pail Kids Movie

The Garbage Pail Kids Movie (Atlantic Releasing Corporation)

Here’s a film that will fall under the memorable category. I fall neither in the cult following of this movie nor the rabid hatred thereof, but I have seen it twice and do recall it was the quest of a friend of mine’s in junior high to obtain this film. It may well have been the seed for my loathing of the concept of something being out of print.

26. Masters of the Universe

Masters of the Universe (The Cannon Group)

Another big deal for me when I was young was He-Man. More so the animated series than this film. Now, I loved it at the time but I have since revisited most, if not all of the series, and the fish out of water approach to the movie while amusing is certainly not why we kids adored the show. It was Eternia and the characters and landscape there. It certainly wasn’t as the quote at the bottom of this poster states the Star Wars of the 80s, I think that was still Star Wars.

27. Dennis the Menace Dinosaur Hunter

Dennis the Menace Dinosaur Hunter (LBS Communications)

There are some things I really loved as a kid that I would come very close to forgetting and then through some nearly miraculous happenstance be reminded of in a very powerful way and my affection would be rekindled. The more notable cases are musical but this film fits that bill. It was a TV project that I know I’ve seen many times but each after nearly having forgotten it existed. I liked, and still do like, Dennis the Menace as a character and I was obsessed with dinosaurs so this film is one I’d naturally gravitate to.

28. Flowers in the Attic

Flowers in the Attic (New World Pictures)

Here’s one that I nearly forgot about as I used the IMDb to jog my memory and somehow I hadn’t voted on this one though I viewed it when I was a rather anal-retentive voter. I saw this film later on and it’s definitely a cult favorite. You either love it or loathe it but perhaps what’s most notable for me is that after having seen it I considered reading V.C. Andrews but when I discovered the author’s name had become and overly-exploited brand name posthumously, I shied away. Perhaps, with an even better interwebs than ever before, I’ll look into her again and see what she actually wrote and what is just attributed to the name.

Thus concludes my journey through 1987 what year I’ll revisit next I know not but may it be as memorable as the first two.

In Memoriam- John Hughes

John Hughes

Often times an era in which one excelled, and the fact that an artist was wildly prolific within a time period greatly influences our opinion of him. Simply calling John Hughes the “Bard of Teen Angst” is not praise enough for not all of his work was a teen movie or a brat pack film.

Planes, Trains & Automobiles was not only an uproariously funny film, which was John Candy and Steve Martin’s only onscreen meeting, but a heartwarming film in the end. The revelation that Candy’s character was homeless became a 1980s template for sitcom episodes as did the plots of The Breakfast Club, Ferris Bueller’s Day Off and Sixteen Candles.

Hughes then put Candy in The Great Outdoors in a similar brand of comedy but fewer social ramifications.

This was the man who penned the Vacation films to greatness and those were hardly angst-ridden just downright funny.

Hughes also showed his more dramatic side with titles like Curly Sue – a film whose perception in my mind is likely skewed due to my sister’s incessant watching of it. The heartfelt, sincere, coyly funny, at times dramatic She’s Having a Baby.

He was a star launcher from propelling Michael Keaton in Mr. Mom, and also John Candy, Anthony Michael Hall, Molly Ringwald and Macaulay Culkin.

Even his greatest hits: The Breakfast Club, Weird Science, Ferris Bueller’s Day Off show more diversity than Hughes is typically given credit for having.

The screenwriter is a largely anonymous figure in the Hollywood game and in the American consciousness, even more so when said writer chooses to leave Hollywood behind. Even with one of the longest string of hits in the history of film there was a fade, yet even while fading Hughes put his name on big scripts.

In the 90s Hughes was hired to write a series of remakes: 101 Dalmatians, Flubber, Miracle on 34th Street and Dennis the Menace.

He also wrote Beethoven which was good in its first installment and he has continued the series under his pen name scripting it or lending his characters.

The decade of course began with Home Alone, which has been tarnished in hindsight due to many things unrelated to the film. It is a classic comedy and at the end of its theatrical run was the 4th highest grossing film of all-time and the #1 comedy. It is still in the mid-20s of the all-time rank 19 years later, with no inflated ticket prices there to boost it. Hughes went on to pen the next two in the series.

Home Alone was inspired by one short scene in Uncle Buck where Macaulay interviewed Buck’s girlfriend through the mail slot. Which is another tremendous example of his artistry: one, because such a short exchange spun off into another film and that he found inspiration in that. It’s also great because the two films complement each other.

The remainder of his credits he had attributed to him where written under his pen name Edmond Dantès, he did have few indie attempts like a TV series called New Port South and a hard to find film called Reach the Rock.

Which were followed by story credits such as Maid in Manhattan– nothing special but as good as a Cinderella update can be. Lastly, Drillbit Taylor which reportedly was a tale optioned in the 1980s and untouched ’til last year.

So a lot of that body of work had little to do with angst and a lot to do with fantasy and laughter and things that would get us through angst. The label likely has to do with his magnum opus, the masterpiece whose first draft was written over the course of one weekend: The Breakfast Club.

This is the kind of film that strikes a big time nerve not just for teenagers but for those who were teenagers, I myself was in college when I first saw it and likely connected with it more because of it. It examines its characters with surgical precision, and they all understand each other more they are by no means fixed or better for the experience just changed and more aware. They stand united against a common enemy – their parents and the principal. 

Part of what made Hughes great was that he had an unwavering view of the world best exemplified by a quote of his: “I don’t think of kids as a lower form of the human species.”

Hughes practiced what he preached and will not be forgotten by any of us who are young or merely young at heart. Whether we just sought escape or seek to create characters as honest and true as he did we will not forget his words.