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RIP John Hughes

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RIP John Hughes Empty RIP John Hughes

Post by NSpan Fri Aug 07, 2009 4:44 am

Geez made it official in the Obits section--but I thought this deserved its own thread.

RIP John Hughes John+Hughes+01


Last edited by NSpan on Fri Aug 07, 2009 4:54 am; edited 1 time in total
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Post by NSpan Fri Aug 07, 2009 4:48 am

my 5 favorite Hughes-directed movies:

Ferris Bueller's Day Off (1986)
The Breakfast Club (1985)
Weird Science (1985)
Planes, Trains & Automobiles (1987)
Uncle Buck (1989)

=[

^-- my kitten, Banjo, jumped on the keyboard and made that little frowny face.. she must be saddened by the news
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Post by Buscemi Fri Aug 07, 2009 5:38 am

Five Favorite John Hughes-directed films:
1.Planes, Trains and Automobiles
2.The Breakfast Club
3.Ferris Bueller's Day Off
4.Uncle Buck
5.Sixteen Candles

Five Favorite John Hughes-written and produced by films:
1.Home Alone
2.National Lampoon's Vacation
3.Career Opportunities
4.The Great Outdoors
5.Pretty In Pink (though I hated the ending)

And these are too good to leave out:
Nate and Hayes (John Hughes writes action)
Mr. Mom
Home Alone 2: Lost In New York
Only The Lonely (with the unlikely pairing of Hughes regulars John Candy and Ally Sheedy)
Baby's Day Out
Dennis The Menace
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Post by Buscemi Fri Aug 07, 2009 5:43 am

As for the weakest John Hughes film, probably a tie between Home Alone 3 and Drillbit Taylor (his last project). Maid In Manhattan wasn't up to his best either.

Hughes also used the name Edmond Dantes on some films. He was credited under that name on Beethoven, Maid In Manhattan, Drillbit Taylor and probably a few others.
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Post by leestu Fri Aug 07, 2009 9:07 am

Buscemi wrote:
And these are too good to leave out:
Nate and Hayes (John Hughes writes action)
Mr. Mom
Home Alone 2: Lost In New York
Only The Lonely (with the unlikely pairing of Hughes regulars John Candy and Ally Sheedy)
Baby's Day Out
Dennis The Menace

You chucked that one in as a joke or to check that people are reading your lists right?

This news has truly put me in a melancholic, thoughtful mood. I am from the generation who his movies resonated with. He is probably one of the first directors who I started to think of their movies as "a John Hughes movie".
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Post by Buscemi Fri Aug 07, 2009 9:12 am

I like Baby's Day Out for the same reason that you like North.
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Post by leestu Fri Aug 07, 2009 9:16 am

In the words of Groundskeeper Willie "Och, Good comeback" (imagine a Scottish accent). lol!
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Post by BanksIsDaFuture Fri Aug 07, 2009 11:56 am

Damn, 2009 has been crazy with all these deaths.
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Post by numbersix_99 Fri Aug 07, 2009 2:15 pm

Reading a post on pitchforkmedia.com I'm beginning to think that John Hughes was the first director to properly integrate pop music into films, using modern music to convey the mood and feelings of the characters. I've never seen She's Having a Baby but the scene posted (http://pitchfork.com/news/36146-john-hughes-rip/) could be one of the first examples of a gentle ballad used during a sensitive scene.
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Post by NSpan Fri Aug 07, 2009 3:59 pm

Buscemi wrote:As for the weakest John Hughes film, probably a tie between Home Alone 3 and Drillbit Taylor (his last project).

i daresay Drillbit Taylor is MUCH MUCH better than Home Alone 3


Last edited by NSpan on Sat Aug 08, 2009 12:22 am; edited 1 time in total
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Post by NSpan Fri Aug 07, 2009 4:05 pm

numbersix_99 wrote:Reading a post on pitchforkmedia.com I'm beginning to think that John Hughes was the first director to properly integrate pop music into films
what about Hal Ashby, Mike Nichols, or--hell--George Lucas??
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Post by Buscemi Fri Aug 07, 2009 4:13 pm

Martin Scorsese. Definitely Martin Scorsese.
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Post by numbersix_99 Fri Aug 07, 2009 4:45 pm

When did Lucas do that? American Grafitti wasn't modern music, it was popular music from a past era.

Mike Nichols's only example I can think of is The Graduate but Simon and Garfunkle made a specific soundtrack as opposed to using already popular songs at the time

Don't know enough of Hal Ashby, I've only seen the Last Detail and Being There and neither of them featured popular music from the time.

There is Scorsese of course. I don't think he used popular music in the foreground until goodfellas. Even in Mean Streets it was mostly location music with one or two exceptions.

I suppose what I mean by John Hughes is that he took a music video approach to feature films, with certain scenes having a popular song for the time as being the indicator of the mood. It worked in his films, but sadly it has been abused by vacuous film directors, something Watchmen is very guilty of.
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Post by Buscemi Fri Aug 07, 2009 4:58 pm

I'd loved to see a director Rick Roll his audience and edit an action scene to Never Gonna Give You Up.
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Post by Donte77 Fri Aug 07, 2009 8:23 pm

I posted quite a bit in the obit thread but this is pretty important. As Leestu said, some of us grew up in an era where this guy had movies that were distincly HIS movies. We did think of them as "John Hughes' movies" and it created this little subgroup of fans. He is not the only one to do this but he is one of the only ones I think of that didn't attach his name to the title. It was The Breakfast Club, a John Hughes movie. Other guys who became synonymous with their movies had title's like John Carpenters "The Thing" or Vampires, etc.

The guy was a great writer but I never realized he had written so many movies. The entire Home alone series, the Vacation series, half of the famous John Candy movies (another awesomely famous, now dead John) plus the epic 80's movies of Ferris Bueller (who is on of the greatest movie characters ever!), Breakfast Club, Weird Science, Pretty in Pink, and fucking Mr. Mom. Wow.

Also when you think about some of these movies, how many people did he help catapult to stardom?? Michael Keaton, Matthew Broderick, Mcauley Kulkin (however you spell it), Molly Ringwald, Judd Nelson. Damn that is impressive.
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Post by NSpan Sat Aug 08, 2009 1:57 am

numbersix_99 wrote:I suppose what I mean by John Hughes is that he took a music video approach to feature films, with certain scenes having a popular song for the time as being the indicator of the mood..
so, you're saying John Hughes "pioneered" the use of unoriginal contemporary pop hits--that had already been written, released, and proven popular--and inserted them in a non-diegetic fashion to establish atmosphere in his movies?

even if he WAS the first (he wasn't), i don't think that's something to be proud of

numbersix_99 wrote:When did Lucas do that? American Grafitti wasn't modern music, it was popular music from a past era.
Mike Nichols's only example I can think of is The Graduate but Simon and Garfunkle made a specific soundtrack as opposed to using already popular songs at the time
sadly it has been abused by vacuous film directors, something Watchmen is very guilty of.
i'm confused... if Snyder only used original and/or popular music from the past (more in line with Nichols and Lucas respectively), what does his approach have to do with Hughes' style of piggybacking contemporary hits?
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Post by numbersix_99 Sat Aug 08, 2009 2:29 am

NSpan wrote:
so, you're saying John Hughes "pioneered" the use of unoriginal contemporary pop hits--that had already been written, released, and proven popular--and inserted them in a non-diegetic fashion to establish atmosphere in his movies?

EXACTLY

NSpan wrote:even if he WAS the first (he wasn't), i don't think that's something to be proud of

EXACTLY

... well, I think it worked well in his movies. It has been abused a lot lately, in fact it's used every 30 seconds in that horrible show Grey's Anatomy. I guess what I'm trying to say is that Hughes was the first to incorporate the influence of MTV into feature films.


NSpan wrote:i'm confused... if Snyder only used original and/or popular music from the past (more in line with Nichols and Lucas respectively), what does his approach have to do with Hughes' style of piggybacking contemporary hits?

I guess I was thinking of Watchmen ending with the most goddawful cover I've ever heard, My Chemical Romance covering Dylan's Desolation Row. Snyder is more guilty of using inappropriate songs from any era and then using them to create excrutiatingly slow sequences (The sex scene in Watchmen is possibly the worst scene in the last decade of cinema).
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Post by geezer9687 Sat Aug 08, 2009 3:09 am

He was the Judd Apatow of his day. Its really the best comparison. Only Apatow hasn't directed as many films yet, but give him time.
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Post by NSpan Mon Aug 10, 2009 10:16 am

numbersix_99 wrote:sadly it has been abused by vacuous film directors, something Watchmen is very guilty of.
not to drive this into the ground, but--we should keep in mind that the majority of the songs featured in Watchmen are DIRECTLY from the intro/outtro quotes from the lead-in/lead-out chapters--which were almost all pop-music lyrics..

i agree that some of the music in the film came off as immensely CLICHED (simon/garfunkel, jimi, etc.), but I think for the sake of the adaptation, Snyder was staying true to the source material
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Post by A_Roode Tue Aug 11, 2009 12:38 am

NSpan wrote:
numbersix_99 wrote:sadly it has been abused by vacuous film directors, something Watchmen is very guilty of.
not to drive this into the ground, but--we should keep in mind that the majority of the songs featured in Watchmen are DIRECTLY from the intro/outtro quotes from the lead-in/lead-out chapters--which were almost all pop-music lyrics..

i agree that some of the music in the film came off as immensely CLICHED (simon/garfunkel, jimi, etc.), but I think for the sake of the adaptation, Snyder was staying true to the source material

He should have known better though. And was Moore's intention (in the Graphic novel) to focus us on the mood of the music or the poetic and philosophical themes of the lyrics? The film let me know that I don't want anything to do with Alan Moore's iPod. Or Zach Snyder's.
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Post by numbersix_99 Tue Aug 11, 2009 12:59 am

NSpan wrote:
i agree that some of the music in the film came off as immensely CLICHED (simon/garfunkel, jimi, etc.), but I think for the sake of the adaptation, Snyder was staying true to the source material

Fair enough- I didn't realise that. But it's proof od Snyder's limitations as a director. He failed to realise that some things that work in comics just don't work in film, and that some of the dialogue, even the ones takne directly from the comic, dont work when performed. A more confident director would hav changed the script for the better, but Snyder didn't.
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