Anthony Michael Hall Reflects on ‘The Class,’ Honoring ‘The Breakfast Club’s’ Enduring Legacy, and Inspiring a New Generation

Veteran actor and producer Anthony Michael Hall recently offered exclusive insights to HollywoodLife, discussing his involvement in the new coming-of-age drama, The Class. This film serves as a heartfelt homage to the iconic 1980s teen movies that catapulted him to stardom, most notably the seminal classic, The Breakfast Club. Nearly four decades later, Hall delves into the lasting impact of his early career-defining roles and the significance of modernizing these timeless themes for today’s Gen Z teens. His new project, The Class, sees him return to the high school setting, albeit in a vastly different capacity, exploring new narratives while resonating with the spirit of the films that made him a household name.

Hall, renowned for his memorable performances in beloved 80s teen flicks like Sixteen Candles and, of course, The Breakfast Club, is now paying tribute to the era that launched his impressive career. The Class presents a fresh take on familiar territory, following a group of high school students compelled to spend a Saturday together to retake a crucial, failed or missed exam. While unmistakably a nod to The Breakfast Club, the film is skillfully modernized to ensure its relevance and appeal to the current generation of young adults, grappling with their own unique set of contemporary challenges and social dynamics.

In an exclusive conversation with HollywoodLife, Anthony Michael Hall elaborated on his distinctive role in The Class, a stark contrast to his iconic portrayal of Brian Johnson in The Breakfast Club. He shared details about his experience working alongside a dynamic ensemble of young, talented actors, highlighting the genuine camaraderie and strong bonds that developed amongst them both on and off the set of The Class. The discussion also touched upon the much-speculated possibility of a Breakfast Club reunion, a topic that continues to pique the interest of fans worldwide. Below, we dive into the illuminating Q&A session with the esteemed actor and producer.

HollywoodLife: As a dedicated admirer of your illustrious career and a passionate fan of the entire 80s cinematic era, I’m particularly interested in your initial reaction. How did you feel when you first learned about The Class and had the opportunity to read the screenplay for the very first time?

Anthony Michael Hall: Honestly, it caught me completely by surprise. An associate of mine, who I work closely with, connected me with Nick (Nicholas Celozzi), and that led to some incredibly engaging discussions. When I read his screenplay, I was genuinely shocked. I had absolutely no expectation of ever being involved in a film so clearly inspired by another movie I had already made decades ago. So, to answer your question, it definitely took me aback. But more importantly, I was deeply impressed by the sheer quality of his writing. The script felt entirely original, as you experienced, yet its inspiration from The Breakfast Club was unmistakable. I remember thinking, in this instance, we have six students instead of five, and all the real-world issues they confront felt incredibly dynamic and profoundly interesting. I believe Nicky did an exceptional job in modernizing those aspects, elevating the stakes for these young characters and reflecting the complex challenges they navigate today. While these issues – self-discovery, identity, peer pressure – are perennial and have always existed, I think in the context of this film, we delve much deeper than we did all those years ago. I was truly impressed by the writing’s caliber; it boasted great conflict, compelling character development, and memorable individuals. The struggles they face make it very engaging and thought-provoking, and crucially, it also retained that essential element of humor.

That balance was something we, as producers, were very keen to preserve – ensuring those moments of cathartic release where the audience could genuinely lighten up and laugh. The combination of these elements within the screenplay was simply superb. It was a wonderful, unexpected surprise, and the way the entire project came together was truly marvelous. We all traveled to Chicago, Nicky’s hometown, which was a somewhat surreal experience for me, given how many of my early films were made there. The shooting took place at Elmhurst University, located in suburban Chicago, making the entire experience even more special. We completed the film in approximately five weeks, but crucially, we also dedicated significant time to rehearsals beforehand. This rehearsal period was instrumental; all the young actors truly bonded during that time, forging genuine friendships through the process of making the film. This camaraderie was incredibly beneficial, profoundly enhancing their performances on screen. It was an all-around pleasant surprise for all these reasons and more.

HollywoodLife: It’s truly commendable that the cast was given ample time to rehearse. This echoes a similar approach taken during the production of The Breakfast Club, where that dedicated rehearsal period proved so vital in how everything ultimately fleshed out on screen.

Anthony Michael Hall: Precisely. In our discussions, I explained to them that this was one of John Hughes’s great strengths – his profound sense of collaboration. And that collaborative spirit truly blossomed because he would meticulously carve out that essential time for us. Even on comedies, like when we made Sixteen Candles or even Weird Science, he was a huge proponent of getting everyone together, dedicating specific time to truly rehearse. During that period, he also benefited immensely because it allowed him to start mentally blocking the scenes, sometimes even bringing in the Director of Photography to visualize things. Nicky adopted the same approach; he ensured we had that crucial time to rehearse. We’d all gather at our hotel, and then we’d get together and block and rehearse, actually, at the school where we were filming. I found that to be incredibly instrumental because it genuinely helped us bond as a group, as individuals. It profoundly aided all the actors. Nicky and I would often just smile, observing them. They spent so much time with each other, truly being there for one another and effectively becoming each other’s support group, much like their characters develop in the script. As much as I cherish my fellow Breakfast Club members – we were close, and we were friends – this particular experience with The Class transcended that because they truly became inseparable friends. The six of them were genuinely there for each other, both on and off camera, which was a truly wonderful thing to witness unfold.

HollywoodLife: You’re credited as one of the producers on The Class, but was your acting role always part of the plan, or did it evolve? What ultimately led to you appearing in the film?

Anthony Michael Hall: Nicky initially approached me with the intention of playing Faulk. And then, for me to move forward with the project, I said, “Look, I also want to produce this with you.” That was an incredibly exciting prospect for me, too. I had just wrapped another film, and my company, Manhattan Films, co-produced this one. It’s immensely gratifying to witness this development in my own career at 54 years old. This is the very first project where I hold a producer credit, and I couldn’t be prouder of it, largely because these young actors were absolutely amazing. They possessed such soul, such integrity, and delivered performances with no false moments whatsoever, truly embodying their characters in the script. It’s genuinely interesting to observe that level of authenticity from this younger generation, which I find wonderful because I believe that in many ways, this generation is more conscious and empathetic towards others. That awareness is certainly reflected in their work because they were incredibly cool with each other. They genuinely rallied around one another and spent an immense amount of time together, which only enriched their performances. We had a fantastic time on set.

HollywoodLife: Many of the foundational themes explored in The Breakfast Club are undeniably universal, yet the world has changed drastically in nearly 40 years. It’s crucial to acknowledge these enduring universal truths while also rooting them firmly in our current time and social context.

Anthony Michael Hall: I couldn’t agree more. That was definitely present in the film. Nicky was fantastic about giving all the young actors the space they needed, both as individuals and as budding adults. The mindset was, “We are creating this film, but let’s truly commit to the work.” From rehearsals all the way through production, the process was seamless and inspiring because everyone was completely invested. It was genuinely inspiring for me to witness a generation of actors not only deliver exceptional performances but also approach their craft with such authenticity. As I mentioned, there were no false moments; they were all incredibly on point because they possessed an almost self-directing sensibility. We explicitly wanted to avoid anything that felt disingenuous or “corny.” Our goal was to make it feel legitimately real and raw. I also have to extend significant credit to Debbie Gibson, who is absolutely wonderful. Debbie has, of course, been a prominent figure as a singer for a long time, but she possesses an incredible heart, and that truly shines through in her performance in the film. I think she’s very likable and delivers a remarkably natural portrayal.

What’s also fascinating is the character arc of Faulk, my character, and Miranda, Debbie’s character, because ultimately, they are compelled to become more invested in the students. Whereas in the original film, as much as I deeply admired Paul Gleason’s performance, his portrayal of Principal Vernon was perhaps a little more caricatured, a bit heightened in its reality. With The Class, you observe a distinct arc where Faulk genuinely softens by the film’s conclusion. He’s profoundly affected by the students’ openness and honesty regarding their emotions and life challenges. There’s a beautiful arc because you get the sense that Faulk – and this is something that actually evolved during the process – perhaps never truly left his hometown. Maybe he’s one of those individuals who stayed where they grew up, and perhaps he harbored musical aspirations to become a musician, a guitar player, or a singer, as it’s alluded to. This then comes full circle as he is compelled to tell Hannah to keep her guitar, acknowledging her real talent and encouraging her to keep working on it. In turn, Debbie’s character also undergoes a lovely metamorphosis as the kids essentially force her to share her own story. Nicky provided her with a rich backstory, suggesting she was abandoned as a girl, which profoundly influenced her decision to become a teacher. There are all these wonderfully humanistic touches woven into these characters, which I believe further elevates the performances of both Debbie and myself, making for a truly thoughtful and impactful addition to the narrative.

HollywoodLife: As you’ve mentioned, The Class draws inspiration from elements of The Breakfast Club. We currently live in an era saturated with reboots and revivals across Hollywood, yet strangely, the original Breakfast Club itself hasn’t been directly remade. Why do you think Hollywood hasn’t simply taken The Breakfast Club and outright remade it?

Anthony Michael Hall: That’s a truly interesting question, and frankly, I don’t know the definitive answer. I do know that the intellectual property (IP) for The Breakfast Club belongs to Universal. They were in a significant partnership with John Hughes at that particular stage of his career, but beyond that, I truly don’t know why it hasn’t been remade. However, I can offer some insights based on my observations over decades. I’ve had ample time to reflect on the immense cultural impact of that film. I believe that, at its core, it represents a deconstruction of stereotypes. And the overarching, powerful theme of the film is that we are all more alike than we are different. What I’ve consistently noticed when people watch that film is almost a conscious or unconscious projection that kicks in, akin to a group therapy session. Viewers watch it and often think, “Oh, I can identify with that character,” or “I possess a combination of character traits from a few of them.” I find it fascinating that people process that film almost on a therapeutic level, as it often reminds them of their own upbringing, their childhood experiences, or the personal challenges they faced. I think that was one of John Hughes’s greatest strengths; it’s a testament to his incredible writing. All those intricate, subtle details of life and the challenging transition from childhood to adulthood were never lost on him. He considered those moments sacred, those transitions profoundly important, and you clearly see that reverence in his work and his writing.

Beyond the narrative, even elements like the chyron at the beginning of The Breakfast Club, featuring that powerful Bowie quote, were all John Hughes’s vision. Similarly, in the scene where [John] Kapelos’s character talks to Paul Gleason’s Principal Vernon about how he wanted to be John Lennon when he was a kid, that was pure John Hughes. He adored The Beatles, and he particularly loved John Lennon. John would always impart this wisdom to me: “You’ve got to write about what you know.” And he truly walked the walk. All these minute aspects of his own life would subtly bleed through into his work, and that was something he actively encouraged in others. So, I hope I’ve addressed your question, but I do think it’s an intriguing point. I don’t know precisely why it hasn’t been remade, but I’ve certainly had the time to process the film’s enduring effect. And with that legacy as inspiration, I truly believe Nicky did a beautiful job in crafting The Class as a modern-day, inspired-by, homage retelling.

HollywoodLife: Have you ever considered a reunion for The Breakfast Club cast, perhaps similar to television specials like those for Friends or The Fresh Prince of Bel-Air? So many fans, myself included, would absolutely love to see you all together again.

Anthony Michael Hall: We haven’t actually had that specific discussion about a formal reunion. I’m not sure if I should share this with you, but I will, because I think it’s somewhat amusing. We recently all got on a communication thread together, and it was actually concerning some rights issues. A lot of merchandise had started popping up featuring our images as ‘The Club’ and various other related products. So, we were rather recently reunited, in a way, over that matter, all communicating via email about whether or not we should consider litigation against a certain company. That being said, an actual reunion? The only time anything close to that came up was, unfortunately, after John Hughes passed away in 2010. We were all invited to the Oscars, and they presented a beautiful tribute to John. Many of us were part of that, but it wasn’t exclusively The Breakfast Club cast. It included Ally Sheedy, Molly Ringwald, Judd Nelson, and myself, but it also extended to others like Macaulay Culkin, Matthew Broderick, and several other actors from John’s films. Personally, I’d be game for it. I would definitely be open to it. Listen, it’s a film that has had a profound impact and truly lives in the hearts of so many people. So, I mean, I’m absolutely open to something like that. However, I believe Emilio Estevez wouldn’t be interested, as he doesn’t really work as an actor anymore, so I think he’s a little more reticent about that kind of thing. But anyway, that Oscars tribute was the last time we truly gathered, and it was to honor John. I thought that was especially meaningful because, honestly, comedies are typically not acknowledged as much at the Oscars, you know what I mean? I thought it was a really wonderful and deserved tribute to him.

HollywoodLife: We briefly touched on this earlier, regarding John Hughes’s rehearsal process with The Breakfast Club. Susannah Gora’s book, in which you’re quoted, really delves extensively into that rehearsal process, the creative input you all had on the script, and so on. Having had such a unique, one-of-a-kind experience as a young actor, how did that particular period and experience shape you into the actor, producer, and indeed, the person you are today?

Anthony Michael Hall: I think that’s an excellent point. I truly believe that experience opened my eyes to so much: what production truly entailed, how to be a humble yet effective leader—because John Hughes genuinely was one—and crucially, how to collaborate. I always felt one of his greatest talents was his willingness to open up the creative process to us. He wasn’t overly precious about his words, even though they were consistently brilliant. We all had well-developed characters and fantastic dialogue, but what he truly fostered was that spirit of collaboration. He was always accessible and approachable when it came to discussing the dynamics of the dialogue whenever questions or ideas arose. At the same time, he approached the material with a sense of flexibility, like clay. He would open it up and allow it to morph into something even better. We would, of course, do scenes exactly the way John envisioned for two, three, or even four takes, but then if we wanted to experiment and ‘play’ with it, he would actively encourage that as well. That was a truly wonderful talent he possessed, beyond just his extraordinary writing and directing; he was simply cool. He also had an incredible, almost uncanny ear for music.

I recall visiting his wife and kids at their home, and his writing room was absolutely astonishing. He literally had a desktop, and the rest of the room was filled to the brim with records—literally floor to ceiling, all the way around, and even scattered on the floor everywhere. He was always writing with music in mind, which is precisely how his signature ability to perfectly place the right song in a scene developed; he was constantly integrating those musical cues into his scripts. He was a phenomenal collaborator. He deeply understood music, and he was able to seamlessly integrate all these diverse elements into his work simultaneously, while also consistently encouraging all of us to push that much further creatively. That experience absolutely opened me up to the industry, to the potential of approaching things in what I consider ‘the right way,’ and to embracing that crucial spirit of collaboration. These lessons have resonated with me throughout my career, profoundly influencing my work as both an actor and now a producer.

The Class is currently playing in select theaters and is also available for rent or purchase on all major digital platforms.