Molly Ringwald wants to leave well enough alone.
The actress, 57, shared why she doesn’t want any of John Hughes’ movie to be remade, decades after starring in three of his iconic films: “Sixteen Candles” (1984), “The Breakfast Club” (1985), and “Pretty in Pink” (1986).
“Well, they can’t be [remade] because they can’t be made without the permission of John Hughes, and he didn’t want the films to be remade,” Ringwald told People earlier this week. “And I don’t think that they should be really.”
The filmmaker died of a heart attack at the age 59 in 2009.
However, if they were to remake any of her classic films, Ringwald would want it to be “The Breakfast Club.”
“I feel like if somebody does something, I would prefer that they do something … that takes from ‘Breakfast Club’ and then builds on [it], and represents this generation’s issues rather than to try to recreate what was of a different time,” she detailed.
Ringwald starred in the comedy drama with Anthony Michael Hall, Judd Nelson, Ally Sheedy, and Emilio Estevez.
She worked opposite Andrew McCarthy, Annie Potts, James Spader and Jon Cryer in “Pretty in Pink,” and with Michael Schoeffling, Jami Gertz, and John Cusack in “Sixteen Candles.”
In the ’80s, Ringwald and multiple of her fellow co-stars, including Rob Lowe and Demi Moore, were dubbed the “Brat Pack.”
As for if she keeps in touch with any of them, Ringwald told the outlet: “I still see them from time to time. I seem to see Jon Cryer the most, but I love them all. Annie — I love Annie Potts — and I see Andrew McCarthy from time to time.”
She added that it is “hard to believe that it’s been 40 years,” since the premiere of “Pretty in Pink.”
Over the years, Ringwald has spoken out about the complicated dynamic she had with Hughes.
“In terms of, did I know that I was a ‘muse,’ he told me that but when you’re that age, I had nothing really to compare it to,” the “Kissing Booth” star said while on Monica Lewinsky’s podcast “Reclaiming” in March.
Ringwald explained that while “Sixteen Candles” was Hughes’ directorial debut, she already had experience doing movies.
“Like strange, still complimentary or strange weird, strange creepy?” Lewinsky, 52, inquired.
“Umm, yeah, it’s peculiar,” Ringwald responded. “It’s complimentary. It’s always felt incredibly complimentary, but yeah, looking back on it, there was something peculiar.”
She also touched on the fact that the director only wrote “Sixteen Candles” after seeing Ringwald’s headshot when she was 15.
Hughes was in his 30s when he worked with the actress for the first time.
“It’s complex,” Ringwald mused. “It’s definitely complex and it’s something that I turn over in my head a lot and try to figure out how that all affected me.”
The “Riverdale” alum said, “I feel like I’m still processing all of that and I probably will until the day I die.”
At the time of Hughes’ death, Ringwald said in a New York Times op-ed that she hadn’t spoken to the producer for more than 20 years.
In a 2018 essay for The New Yorker she reflected on the power imbalance in their relationship.
“John believed in me, and in my gifts as an actress, more than anyone else I’ve known, and he was the first person to tell me that I had to write and direct one day,” penned Ringwald.
“He was also a phenomenal grudge-keeper,” she continued, “and he could respond to perceived rejection in much the same way the character of Bender did in ‘The Breakfast Club.’ But I’m not thinking about the man right now but of the films that he left behind. Films that I am proud of in so many ways.”
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