Best 90 quotes of Judd Nelson on MyQuotes

Adam Sandler is a really funny guy in real life. Separate from all of the movies, that is a funny man.

A fancy watch, it's completely unnecessary. I just need a watch to tell the right time.

Alien's a great one. That's a scary movie.

Almost anything makes me laugh, especially jokes at my own expense. And I will never, ever admit to being ticklish anywhere.

As a kid, I had a crush on Sophia Loren and Raquel Welch.

As they were building that library in that school's gym [in the Breakfast Club], they built a rehearsal space for us. It was really an empty room taped out with the same dimensions of the library. And they had the tables all there. And he had us sitting at the same table. All of us.

Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.

Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence.

Catcher in the Rye had a profound impact on me-the idea that we all have lots of dreams that are slowly being chipped away as we grow up.

Fandango is not really a Western. It's really just set in Texas. It's a road picture. And then I did one that hasn't come out yet called Kreep, which is set in Texas, but it's not really a Western. But it has a more rural-Texas feel to it.

Heroes always make the right decision; I find that seldom happens in my life.

I always thought that the badge a cop has was more like the shield that Captain America has. It's an obvious sign of good and something you'll protect other people with, but it will also protect you.

Ice-T was just a pleasure to work with. He was a smart gentleman.

I did a Moonlighting episode because I was friends with Whoopi [Goldberg, who guest-starred in the same episode], and she asked me to do it and I did it. But yeah, that was my first regular on a series, and it's because I'd met Brooke Shields a number of years earlier at a charity event.

I don't have any blindness when it comes to my money. As an actor, you can get distracted by your work. I do keep an eye on my nest egg, if you will.

I don't know if it matters what country you're from, size of the city you're from, urban or rural, there are people that are hurting each other everywhere.

I don't know if one's more typecasting than the other, or what I am more like. But I know that the high school I went to was a private school. It was prep school. It was a boarding school. So we didn't have a shop class. We didn't have Saturday detention. We went to school on Saturday. We did have Sunday study, which you very rarely get, because then you have 13 straight days of school. Who wants that?

I enjoyed [playing lawyer in From The Hip] as an ode to my dad. My dad went to Harvard and Harvard Law School, so he had some friends that practiced in Boston. So, there was a big law firm that he hooked me up with the senior partner, then the senior partner hooked me up with a young lawyer who worked in the firm. And the young lawyer was married to a public defender. So I would hang out with them, and I could see both sides of it, those that are corporate attorneys and those that help the poor and the disenfranchised.

I find it very difficult to relax. I find it increasingly difficult to find outlets for my frustration.

If you read a script enough, especially a good script - I try to read it 40 to 50 times before you begin so you get a sense of the arc: what happens before, what happens after, what happens during.

I got to play Santa, too. It's really important to play Santa, you know.

I had to audition for Fandango. When I read the script, the role that was interesting - so everyone thought - was the role that Costner played. He was the cool guy. And I read the script, and my representation at the time said, "That's the role you should read for." And I was like, "Really? How about I read for this other role." And they went, "Well, you're not going to get that role.

I have adopted clothes from all the projects I'm in. It's really been a while since I've bought anything myself.

I just couldn't go back to Suddenly Susan after David Strickland's suicide. I didn't see how we could make the show light and funny any more.

I like being a villain. Villains are more exciting.

I like Chicago. It's a great city. It's always fun to revisit it.

I like every single actor or actress in the world, because we never know what the conditions are like when they are working. I give everyone the benefit of the doubt and root for them like a psychotic sports fan

I like the way the old Toyotas look.

I love the rehearsal process in the theatre, and the visceral sense of contact and communication with a live audience.

I'm involved with Recording Artists and Actors Against Drunk Driving. I'm also involved with most children's causes, because children can't help the environment they're in.

In a good script, it's really like a treasure map. You just focus on that, all the answers are pretty much in it.

[In The Dark Backward ] someone who has writer's block and kills people in A Cabin By The Lake. I guess he's a type of serial killer, but I don't know.

I play a garbage man who moonlights as a stand-up comedian. Terrible.

I put less stock in others' opinions than my own. No one else's opinions could derail me.

I remember Emilio [Estevez] and I were at John's house during the rehearsal process. And John [Huges] had mentioned he wrote the first draft of Breakfast Club in a weekend. And we both at the same time went, "First draft? How many do you have?" And John said he's got four other drafts. And we go, "Can we read them?" And for the next three hours, Emilio and I read those other four drafts.

I still think Brooke Shields is aces. She's really smart, interesting, doesn't feel that her time is more valuable than anyone else's. Really hardworking. And I knew that if she was the star of the show, it's going to be a good experience. And it was.

I think I was, like, 23 or something [on The Breakfast Club]. I was the oldest of the five. Emilio [Estevez] and Ally [Sheedy] were a year younger. The only real difference was that Molly [ Ringwald] and Michael [Hall] still had to go to school. They could shoot, like, a half day. So a lot of my close coverage was done with Molly's stand-in, so Molly could do her schoolwork.

I think that sometimes you don't have the opportunities for some of the most A-list-type movies, big-budget movies. But I think it's important to keep working and make the best of what's available. Because otherwise, what? Are you just going to get bitter and moan? What does my mom always say? "If you can't stand the heat, get out of the kitchen.

I think that there's room for everyone. I don't think that if one person succeeds then another must fail. That's lunacy. I'm not sure what the reasons are for my philosophy, maybe it's the fact that if there are ten people doing the same job, we all know how we feel and what our high points and low points are.

It is a career of make-believe, of masks. We all have masks in life.

I took all the philosophy courses I could.

It's great to work with people that you like, any job, no matter what you do.

It's like they talk about how American actors have the method and English actors just kind of switch views faster. And John [Hurt] is telling me the story as he's sitting in that witness chair, and they're putting the final touches of makeup on. And he goes, "Hold on a second," to stop his story so he can do the take. And he does this incredible take. They go, "Cut." And then immediately John goes, "Anyways, so Alec, he's playing the chess." And I'm just going, "Holy crap." You get whiplash from those kinds of quick turns!

It's more like the inner workings of John Bender. He feels like he's been given a short shrift, he's not been provided the opportunities that maybe these other kids have. So he feels like he begins in a hole. And instead of trying to raise himself up, he wants to bring all of them down. That's a dynamic that's pretty universal. And so that was the real foothold on that. It wasn't like, "Oh, my high school experience is like John Bender's [in St. Elmo's Fire].

It's strange, 'cause a play, you start at the beginning and you go all the way through to the end. So it's naturally very well rehearsed and you get a rhythm and a flow. In film, you can shoot the ending before the beginning. It's very odd. And it's like a craft you have to learn.

It's very easy to confuse Sean Connery with James Bond. Sometimes in the entertainment industry, people believe the cake is more real than the baker.

It was an audition process after Breakfast Club, and I wasn't really sure I wanted to do the movie. There was a bigger role that Rob [Lowe] was already set to play, so the role they wanted me to audition for was Alec. [Director] Joel Schumacher... this is back in the days when you could trick me with things like this. He goes, "Don't you think you can play it?" And I go, "Okaaaaay." So then I did it for all the wrong reasons but I don't think I would fall for that again. Who knows. I might.

I was just in a few episodes the first season [ of Empire]. They didn't kill me, but I haven't been back in season two or three. I don't know if they have plans for me or not. But I enjoyed working on it. And I think it's a really talented group of actors and, boy, very enterprising to try and shoot those every week, you know, with musical numbers and all that stuff.

I was living in New York, so I just rode my motorcycle up to the set [of New Jack City]. So first day of work for me was kind of tough. I get ready to get off my bike, and I'm surrounded by the security guards, who were Louis Farrakhan's Nation Of Islam guys. Who had the double-breasted suits and guns. And this guy goes, "Where you goin'?" And I said, "I'm here to work." And they said, "No you're not." And I said, "Yeah. I'm here to work on the movie." And they said, "No you're not. Get on your bike.

I was trained by Stella Adler for theater so you kind of give it all on every take.