"Driving the movie are themes and values like, 'When is my life my own?', trust, things that are universal."Of course, Keith's paintings are more crucial than his father realizes.And you probably know all the cameos: Eric Stoltz is the mime that won't shut up, Tim Burton is the dating video director, and that's Jeremy Piven as a hyper supermarket clerk chatting up lead Campbell Scott.
Increasingly disenchanted with Hardy's two-timing, she's rethinking the merits of her social leap. Deutch amusingly describes the reveal of Watts as chauffeur as the moment his nervous breakdown started ("Is this gonna work? His commentary is littered with talk of plot points that made him crazy or caused him "a personal meltdown." He remembers, "I used to say to John, 'Why and what -- how? It might've been the way he worked, it might've been to get the performances that he wanted, it might've been to get me to a place where I was malleable." Still, Deutch offers that their conflict likely helped the film by playing out in Keith's tension with his father.
In this way, she calls to mind a different Hughes character, the discontented Jake of Sixteen Candles ("I want a serious girlfriend. That plotline builds to a fitting, if stagey climax ("Will you listen to me for once?
Recalling his high school ambitions in art, Hughes says having such a consuming passion was key to withstanding loneliness and building self-reliance.
"I didn't really much care what people thought 'cause I could go look at my work and say, 'I like that,' and 'I did that,' and it was, you know, self-recognition."Similarly, Watts channels her angst into drumming.
(For proof the skins matter, consider that she's billed as "Drummer Girl" throughout the script.) Only Amanda is unmoored by any proactive measure of self-worth.
Though she lives, like Keith and Watts, in the poor "sector," Amanda has crossed over to the wealthy crowd and sleeps with rich, arrogant Hardy (Craig Sheffer, deliciously awful) despite glaring evidence that he cheats on her.
The legends are dying, slipping away one after the other, and we must capture them, as David Yaffe has captured Joni Mitchell here, while we still can.
You may have worn out your CD of the best-selling soundtrack and made a pilgrimage to the landmark apartment house in Seattle.
Eric Stoltz says that women who talk to him about Some Kind of Wonderful "almost always say, 'You know, I was 12 when I saw that and it meant so much to me.'" For the record, I was a precocious 11 when I first viewed Stoltz as Keith, the gentle artist torn between two girls.