Today in Feel Goodery
"The fact is, Ryan Reynolds has been chosen for Green Lantern, and I can't think of anyone better. He's got the look, he's got the talent, he's got the chops, he's got the build - the abs, he's got superhero written all over him."
What a classy goddamn thing to say. But he didn't stop there:
"I'm a little more like [a] sidekick, I'm a little more comic relief, whereas I know Ryan is going to handle [the role] beautifully... Ryan knows exactly what he's doing and having worked with him for over two years, I know how he handles himself, I know how he attacks things and I'm a big fan."
"I just went and saw The Proposal, and I just love him so much... He does really, really good work. ... We've actually exchanged a couple of e-mails just recently, just yakking about it. I'm very excited for him."
Come on: You're feeling the warm fuzzies a little, aren't you?
And in an effort to extend the feel goodery well into the afternoon, here's a little more John Hughes love, a trailer Don't You Forget About Me, for an as-yet-unreleased documentary on John Hughes, which provides a fairly perfect obituary for the man. I don't know when it's coming out, although I suspect it'll be fast-tracked in the wake of Hughes' death.It features interviews with all your favorite Hughes actors (Sheedy, Ringwald, McCarthy, Nelson, Mia Sara, Alan Ruck, and even Kevin Smith), and it looks absolutely splendid. And kind of heart-warmy:
You know: I was looking over Hughes' filmography again this morning, and realized something. If you take out Nate and Hayes (which I have almost no memory of, so I can't really comment on it), there were no deaths in Hughes' films, save for the grandmother in Vacation, which was one of the funniest gags in the film. And even the antagonists in Hughes' films weren't exactly despicable people (Joe Pesci in Home Alone and Paul Gleason in The Breakfast Club were about as low-down as his characters got). I don't know what that says about the man, really, except that you don't have to have horrible, loathsome characters to make a compelling movie full of conflict.
It's also remarkable, for the 1980s, just how well he treated his female characters. For all the teen archetypes he created, there wasn't a slut or a ho bag. And I don't even need to go into how the man explored class -- for poor-ass motherfuckers like myself, he gave us a world that we could belong to. And not as a minor character or the comic relief, but the heroes and heroines.
Thanks, John Hughes. We officially forgive you for Beethoven, Flubber and Maid in Manhattan.
With a hat tip to FlickCast, here's five minutes and 21 seconds of John Hughes bliss:
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