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.

But for the film's 20th anniversary (it was released on Sept.

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With two best friends split over one's infatuation with a metaphorically uptown love, the setup sounds like Pretty in Pink with the gender roles reversed. Both films float along on coincidence (Keith just happens to ask Amanda out seconds after she's told Hardy they're through) and build to one wild night out. You notice the earrings.'"Other features (“Meet the Cast,” “The Music") reveal more behind-the-scenes angst.

Wonderful changes the dynamic, however, by making Amanda another outsider. Here the big climax is Keith's heavily orchestrated date with Amanda, with Watts torturing herself by chauffeuring them from a fancy restaurant to an art museum to the Hollywood Bowl to, finally, the film's "high noon" moment, when the pair attend Hardy's party knowing full well he plans to "pound" Keith for stealing his girl. Stoltz and Deutch both cop to a testy working relationship, exacerbated by Stoltz's desire to be called by his character name (which got confusing for Thompson, she laughs, since she'd worked with him twice before). "Howie shot a lot of takes, sometimes 38, 39, 40 takes.

"They are not characters he wrote for business, to make a script and make money. Asked then about his ability to write from a "teen" perspective, Hughes said letters from fans helped, but he also recalled the contradictions of his own adolescence: What it's like to feel completely grown up, completely capable of being responsible for yourself, and having someone say in the midst of all your problems, "What time are you gonna be home for dinner? Dad (John Ashton) keeps a steady eye on his son's savings, watching the interest grow, anxious for the day Keith will be the first in the family to go to college.

He dismisses Keith's plans for art school as unrealistic daydreams, setting up that "classic conflict between what parents want and what you want and what's right," Deutch says.

They were all wonderfully thoughtful and smart, which is very rare for a teen film.

And we reveled in that." The movies endure, Deutch says on the DVD commentary track, because the characters were personal. When he writes them -- I watched him -- he would laugh and cry as he wrote."While Paramount didn't lure Hughes back to reminisce about the film, the DVD does provide a mullet-tastic interview conducted by his She's Having a Baby lead, Kevin Bacon, in 1987. For Keith, it's higher learning that produces conflict at home.

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?

As Crowe wrote in his film diary, "I was in the process of rewriting an old script of mine at the time. I wanted to write something that captured the feeling in that room. Despite the presence of local rock stars, Crowe didn't set out to make a movie about the Seattle scene: "People thought 'Singles' was going to be 'The Mark Arm Story.' [Arm was the lead singer of grunge frontrunners Mudhoney.] What 'Singles' was always meant to be was 'Manhattan' set in Seattle.4.

Not Andy's story but the story of how people instinctively need to be together. Crowe cast Pearl Jam in the movie before they were even known as Pearl Jam (they changed their name from Mookie Blaylock during filming).

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.