Ferris Bueller's Day Off

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Ferris Bueller's Day Off
Ferris Bueller's Day Off.jpg
Theatrical release poster
Directed by John Hughes
Produced by
  • John Hughes
  • Tom Jacobson
Written byJohn Hughes
Music by Ira Newborn
Cinematography Tak Fujimoto
Edited by Paul Hirsch
Distributed by Paramount Pictures
Release date
  • June 11, 1986 (1986-06-11)(USA)
  • April 16, 1987 (1987-04-16)(Africa)
Running time
103 minutes
CountryUnited States
Budget$5.8 million
Box office$70.1 million [1]

Ferris Bueller's Day Off is a 1986 American teen comedy film written, co-produced, and directed by John Hughes, and co-produced by Tom Jacobson. The film stars Matthew Broderick as Ferris Bueller, a high-school slacker who spends a day off from school, with Mia Sara and Alan Ruck. Ferris regularly breaks the fourth wall to explain his techniques and inner thoughts.

Teen film is a film genre targeted at teenagers and young adults in which the plot is based upon the special interests of teenagers and young adults, such as coming of age, attempting to fit in, bullying, peer pressure, first love, teen rebellion, conflict with parents, teen angst or alienation. Often these normally serious subject matters are presented in a glossy, stereotyped or trivialized way. For legal reasons, many teenage characters are portrayed by young adults. Some teen films appeal to young males while others appeal to young females.

A comedy film is a genre of film in which the main emphasis is on humour. These films are designed to make the audience laugh through amusement and most often work by exaggerating characteristics for humorous effect. Films in this style traditionally have a happy ending. One of the oldest genres in film – and derived from the classical comedy in theatre –, some of the very first silent movies were comedies, as slapstick comedy often relies on visual depictions, without requiring sound. When sound films became more prevalent during the 1920s, comedy films took another swing, as laughter could result from burlesque situations but also dialogue.

John Hughes (filmmaker) American filmmaker (writer and director)

John Wilden Hughes Jr. was an American filmmaker. Beginning as an author of humorous essays and stories for National Lampoon, he went on to write and direct some of the most successful live-action comedy films of the 1980s and 1990s such as National Lampoon's Vacation (1983) and its sequels National Lampoon's European Vacation (1985) and National Lampoon's Christmas Vacation (1989); Mr. Mom (1983), Sixteen Candles (1984), Weird Science (1985), The Breakfast Club (1985), Ferris Bueller's Day Off (1986), Pretty in Pink (1986), Some Kind of Wonderful (1987), Planes, Trains and Automobiles (1987), She's Having a Baby (1988), Uncle Buck (1989), Dutch (1991), Dennis the Menace (1993), Baby's Day Out (1994), the Beethoven franchise and Home Alone (1990) and its sequels Home Alone 2: Lost in New York (1992) and Home Alone 3 (1997).


Hughes wrote the screenplay in less than a week. Filming began in September 1985 and finished in November. Featuring many landmarks, including the then Sears Tower and the Art Institute of Chicago, the film was Hughes' love letter to Chicago: "I really wanted to capture as much of Chicago as I could. Not just in the architecture and landscape, but the spirit." [2]

Willis Tower Skyscraper in Chicago, Illinois

The Willis Tower is a 110-story, 1,450-foot (442.1 m) skyscraper in Chicago, Illinois. At completion in 1973, it surpassed the World Trade Center in New York to become the tallest building in the world, a title it held for nearly 25 years; it was the tallest building in the Western Hemisphere for 41 years, until the new One World Trade Center surpassed it in 2014. Willis Tower is considered a seminal achievement for architect Fazlur Rahman Khan. It is currently the second-tallest building in the United States and the Western hemisphere – and the 16th-tallest in the world. Each year, more than one million people visit its observation deck, the highest in the United States, making it one of Chicago's most popular tourist destinations. The structure was renamed in 2009 by the Willis Group as a term of its lease.

Art Institute of Chicago Art museum and school in Chicago

The Art Institute of Chicago, founded in 1879 and located in Chicago's Grant Park, is one of the oldest and largest art museums in the United States. Recognized for its curatorial efforts and popularity among visitors, the museum hosts approximately 1.5 million people annually. Its collection, stewarded by 11 curatorial departments, is encyclopedic, and includes iconic works such as Georges Seurat's A Sunday on La Grande Jatte, Pablo Picasso's The Old Guitarist, Edward Hopper's Nighthawks, and Grant Wood's American Gothic. Its permanent collection of nearly 300,000 works of art is augmented by more than 30 special exhibitions mounted yearly that illuminate aspects of the collection and present cutting-edge curatorial and scientific research.

Released by Paramount Pictures on June 11, 1986, the film became one of the top-grossing films of the year, receiving $70.1 million over a $5.8 million budget, and was enthusiastically acclaimed by critics and audiences alike. In 2014, the film was selected for preservation in the National Film Registry by the Library of Congress, being deemed "culturally, historically, or aesthetically significant." [3]

Paramount Pictures Major film studio in America, specializing in film and television production, and distribution.

Paramount Pictures Corporation is an American film studio based in Hollywood, California, that has been a subsidiary of the American media conglomerate Viacom since 1994. Paramount is the fifth oldest surviving film studio in the world, the second oldest in the United States, and the sole member of the "Big Five" film studios still located in the Los Angeles neighborhood of Hollywood.

National Film Registry Selection of films for preservation in the US Library of Congress

The National Film Registry (NFR) is the United States National Film Preservation Board's (NFPB) selection of films deserving of preservation. The NFPB, established by the National Film Preservation Act of 1988, was reauthorized by acts of Congress in 1992, 1996, 2005, and again in October 2008. The NFPB's mission, to which the NFR contributes, is to ensure the survival, conservation, and increased public availability of America's film heritage. The 1996 law also created the non-profit National Film Preservation Foundation which, although affiliated with the NFPB, raises money from the private sector.

Library of Congress (de facto) national library of the United States of America

The Library of Congress (LOC) is the research library that officially serves the United States Congress and is the de facto national library of the United States. It is the oldest federal cultural institution in the United States. The library is housed in three buildings on Capitol Hill in Washington, D.C.; it also maintains the National Audio-Visual Conservation Center in Culpeper, Virginia. The library's functions are overseen by the librarian of Congress, and its buildings are maintained by the architect of the Capitol. The Library of Congress claims to be the largest library in the world. Its "collections are universal, not limited by subject, format, or national boundary, and include research materials from all parts of the world and in more than 450 languages."


In suburban Chicago, Illinois, near the end of the school year, high school senior Ferris Bueller (Matthew Broderick) fakes illness to stay at home. Throughout the film, Ferris frequently breaks the fourth wall to talk about his friends and give the audience advice on how to skip school. His parents believe him, though his sister Jeanie (Jennifer Grey) is not convinced. Dean of Students Edward R. Rooney (Jeffrey Jones) suspects Ferris is playing truant again and commits to catching him. Ferris convinces his best friend Cameron Frye (Alan Ruck), who is legitimately absent due to illness, to help lure Ferris' girlfriend Sloane Peterson (Mia Sara) out of school by reporting that her grandmother has died. To trick Rooney, Ferris sways Cameron to let them borrow his father's prized 1961 Ferrari 250 GT California Spyder to collect Sloane. Cameron is dismayed when Ferris continues to use the car to drive them into downtown Chicago to spend the day, but Ferris promises they will return it as it was.

Chicago city and county seat of Cook County, Illinois, United States

Chicago, officially the City of Chicago, is the most-populous city in the U.S. state of Illinois and the third-most-populous city in the United States. With an estimated population of 2,705,994 (2018), it is also the most-populous city in the Midwest. Chicago is the county seat of Cook County, the second-most-populous county in the US, and portions of the city extend westward into neighboring DuPage County. It is the principal city of the Chicago metropolitan area, often referred to as Chicagoland. At nearly 10 million people, the metropolitan area is the third-most-populous in the nation.

Illinois American State

Illinois is a state in the Midwestern and Great Lakes regions of the United States. It has the fifth largest gross domestic product (GDP), the sixth largest population, and the 25th largest land area of all U.S. states. Illinois has been noted as a microcosm of the entire United States. With Chicago in northeastern Illinois, small industrial cities and immense agricultural productivity in the north and center of the state, and natural resources such as coal, timber, and petroleum in the south, Illinois has a diverse economic base, and is a major transportation hub. Chicagoland, Chicago's metropolitan area, encompasses over 65% of the state's population. The Port of Chicago connects the state to international ports via two main routes: from the Great Lakes, via the Saint Lawrence Seaway, to the Atlantic Ocean and from the Great Lakes to the Mississippi River, via the Illinois Waterway to the Illinois River. The Mississippi River, the Ohio River, and the Wabash River form parts of the boundaries of Illinois. For decades, Chicago's O'Hare International Airport has been ranked as one of the world's busiest airports. Illinois has long had a reputation as a bellwether both in social and cultural terms and, through the 1980s, in politics.

High school, in the United States and Canada, is the education students receive from approximately 14 to 18 years old. Most comparable to secondary schools, high schools generally deliver phase three of the ISCED model of education. High schools have subject-based classes. The name high school is applied in other countries, but no universal generalization can be made as to the age range, financial status, or ability level of the pupils accepted. In North America, most high schools include grades nine through twelve and students attend them following junior high school.

The trio leave the car with parking garage attendants who immediately take the car for a joyride after they leave. Ferris, Cameron, and Sloane sightsee around the city, including the Art Institute of Chicago, Sears Tower, Chicago Mercantile Exchange, and Wrigley Field, while narrowly dodging Mr. Bueller (Lyman Ward). Cameron remains disinterested, and Ferris attempts to cheer him up by spontaneously joining a parade float during the Von Steuben Day parade and lip-syncing Wayne Newton's cover of "Danke Schoen", as well as a rendition of The Beatles' "Twist and Shout" that excites the gathered crowds.

Chicago Mercantile Exchange Financial and commodity derivative exchange located in Chicago, Illinois, United States

The Chicago Mercantile Exchange (CME) is a global derivatives marketplace based in Chicago and located at 20 S. Wacker Drive. The CME was founded in 1898 as the Chicago Butter and Egg Board, an agricultural commodities exchange. Originally, the exchange was a non-profit organization. The Merc demutualized in November 2000, went public in December 2002, and merged with the Chicago Board of Trade in July 2007 to become a designated contract market of the CME Group Inc., which operates both markets. The Chairman and Chief Executive Officer of CME Group is Terrence A. Duffy, Bryan Durkin is President. On August 18, 2008, shareholders approved a merger with the New York Mercantile Exchange (NYMEX) and COMEX. CME, CBOT, NYMEX and, COMEX are now markets owned by CME Group.

Wrigley Field Baseball stadium in Chicago, IL, US

Wrigley Field is a baseball park located on the North Side of Chicago, Illinois. It is the home of the Chicago Cubs, one of the city's two Major League Baseball (MLB) franchises. It first opened in 1914 as Weeghman Park for Charles Weeghman's Chicago Whales of the Federal League, which folded after the 1915 baseball season. The Cubs played their first home game at the park on April 20, 1916, defeating the Cincinnati Reds with a score of 7–6 in 11 innings. Chewing gum magnate William Wrigley Jr. of the Wrigley Company acquired complete control of the Cubs in 1921. It was named Cubs Park from 1920 to 1926, before being renamed Wrigley Field in 1927.

Lyman Ward is a Canadian actor.

Meanwhile, Rooney investigates the Bueller home to try to prove Ferris' truancy, getting into several pratfalls. At the same time, Jeanie, frustrated that the entire school believes Ferris has come down with a deadly illness, skips class and returns home to confront him, only to run into, attack, and knock out Rooney, who flees while she calls the police; when they arrive, they arrest her for filing a false report and contact her mother to collect her. While waiting, she meets a juvenile delinquent (Charlie Sheen) who advises her not to worry so much about Ferris. Mrs. Bueller (Cindy Pickett) arrives at the station, upset about having to forgo a house sale, only to find Jeanie kissing the delinquent, infuriating her more.

Charlie Sheen American film and television actor

Carlos Irwin Estévez, known professionally as Charlie Sheen, is an American actor. Sheen has appeared in films including Platoon (1986), Wall Street (1987), Young Guns (1988), Eight Men Out (1988), Major League (1989), Hot Shots! (1991), and The Three Musketeers (1993).

Cindy Pickett is an American actress.

Ferris and his friends collect the Ferrari and depart for home, but shortly discover many miles have been added to the odometer and Cameron becomes catatonic. Back at Cameron's garage, Ferris raises the car on a jack and runs it in reverse gear to try to take miles off the odometer without success. Cameron finally snaps, and lets out his anger against his controlling father by repeatedly kicking the car. This causes it to fall off the jack and race in reverse through the back of the garage and into the ravine below. Ferris offers to take the blame, but Cameron asserts he will stand up against his father.

Ferris drops off Sloane at her house and realises his parents are due home soon. As he races on foot through the neighborhood he is nearly hit by Jeanie, who is driving their mother home. She speeds off trying to beat Ferris home. Ferris makes it home first to find Mr. Rooney waiting for him outside. Jeanie races into the house as their mother talks to their father about her behavior that day. Jeanie discovers Rooney threatening Ferris and thanks Rooney for helping return Ferris from the hospital. She shows Rooney his wallet that she had found from his earlier break-in. Rooney flees from the family dog while Ferris rushes back to his bedroom to greet his parents whilst feigning his waning illness. As they leave, Ferris reminds the audience, "Life moves pretty fast. If you don't stop and look around once in a while, you could miss it."

During the end credits, a defeated Rooney heads home and is picked up by a school bus, further humiliated by the students. After the credits, Ferris tells the audience the film is over and to go home.


Matthew Broderick in Sweden during his promotion of Ferris Bueller's Day Off, June 1986 Matthew Broderick.jpg
Matthew Broderick in Sweden during his promotion of Ferris Bueller's Day Off, June 1986



As he was writing the film in 1985, John Hughes kept track of his progress in a spiral-bound logbook. He noted that the basic storyline was developed on February 25. It was successfully pitched the following day to Paramount Studios chief Ned Tanen. Tanen was intrigued by the concept, but wary that the Writers Guild of America was hours away from picketing the studio. [4] Hughes wrote the screenplay in less than a week. [5] Editor Paul Hirsch explained that Hughes had a trance-like concentration to his script-writing process, working for hours on end, and would later shoot the film on essentially what was his first draft of the script. "The first cut of Ferris Bueller's Day Off ended up at two hours, 45 minutes. The shortening of the script had to come in the cutting room", said Hirsch. [6] "Having the story episodic and taking place in one day...meant the characters were wearing the same clothes. I suspect that Hughes writes his scripts with few, if any costume changes just so he can have that kind of freedom in the editing." [6]

Hughes intended the movie to be more focused on the characters rather than the plot. "I know how the movie begins, I know how it ends", said Hughes. "I don't ever know the rest, but that doesn't seem to matter. It's not the events that are important, it's the characters going through the event. Therefore, I make them as full and real as I can. This time around, I wanted to create a character who could handle everyone and everything." [7]


Hughes said that he had Broderick in mind when he wrote the screenplay, saying Broderick was the only actor he could think of who could pull off the role, calling him clever and charming. [8] "Certain guys would have played Ferris and you would have thought, 'Where's my wallet?'" Hughes said. "I had to have that look; that charm had to come through. Jimmy Stewart could have played Ferris at 15...I needed Matthew." [8] Alan Ruck later told the AV Club that Anthony Michael Hall, who had previously worked with Hughes on three films, was originally offered the part but turned it down. [9] Other actors who were considered for the role included Jim Carrey, John Cusack, Tom Cruise and Michael J. Fox. [10]

Sara surprised Hughes when she auditioned for the role of Sloane Peterson. "It was funny. He didn't know how old I was and said he wanted an older girl to play the 17-year-old. He said it would take someone older to give her the kind of dignity she needed. He almost fell out of his chair when I told him I was only 18." [11] Molly Ringwald had also wanted to play Sloane, but according to Ringwald, "John wouldn't let me do it: he said that the part wasn't big enough for me." [4]

Ruck had previously auditioned for the Bender role in The Breakfast Club which went to Judd Nelson, but Hughes remembered Ruck and cast him as the 17-year-old Cameron Frye. [12] According to Hughes, the character of Cameron was largely based on a friend of his in high school. "He was sort of a lost person. His family neglected him, so he took that as license to really pamper himself. When he was legitimately sick, he actually felt good, because it was difficult and tiring to have to invent diseases but when he actually had something, he was relaxed." [13] Ruck said the role of Cameron had originally been offered to Emilio Estevez who turned it down. "Every time I see Emilio, I want to kiss him", said Ruck. "Thank you!" [4] Ruck, then 29, worried about the age difference. "I was worried that I'd be 10 years out of step, and I wouldn't know anything about what was cool, what was hip, all that junk. But when I was going to high school, I didn't know any of that stuff then, either. So I just thought, well, hell—I'll just be me. The character, he's such a loner that he really wouldn't give a damn about that stuff anyway. He'd feel guilty that he didn't know it, but that's it." [12] Ruck was not surprised to find himself cast young. "No, because, really, when I was 18, I sort of looked 12", he said. "Maybe it's a genetic imbalance." [12]

Ruck and Broderick had previously acted together in the Broadway production of Biloxi Blues . Cameron's Mr. Peterson voice was an in-joke imitation of their former director Gene Saks. [4] Ruck felt at ease working with Broderick, often crashing in his trailer. "We didn't have to invent an instant friendship like you often have to do in a movie", said Ruck. "We were friends." [4]

Jones was cast as Rooney based on his role in Amadeus , where he played the emperor; Hughes thought that character's modern equivalent was Rooney. [13] "My part was actually quite small in the script, but what seemed to be the important part to me was that I was the only one who wasn't swept along by Ferris", recalls Jones. [14] "So I was the only one in opposition, which presented a lot of opportunities, some of which weren't even in the script or were expanded on. John was receptive to anything I had to offer, and indeed got ideas along the way himself. So that was fun, working with him." [14] "Hughes told me at the time—and I thought he was just blowing his own horn—he said, 'You are going to be known for this for the rest of your life.' And I thought, 'Sure'... but he was right." [15] To help Jones study for the part, Hughes took him to meet his old vice principal. "This is the guy I want you to pay close attention to," Jones explained to Hughes' biographer Kirk Honeycutt. While meeting him, the VP's coat momentarily flew open revealing a holster and gun attached to the man's belt. This made Jones realize what Hughes had envisioned."The guy was 'Sign up for the Army quick before I kill you!'" Jones exclaimed. [16]

Stein says he got the role of Bueller's Economics teacher through six degrees of separation. [17] "Richard Nixon introduced me to a man named Bill Safire, who's a New York Times columnist. He introduced me to a guy who's an executive at Warner Brothers. He introduced me to a guy who's a casting director. He introduced me to John Hughes. John Hughes and I are among the only Republicans in the picture business, and John Hughes put me in the movie", Stein said. [17] Hughes said that Stein was an easy and early choice for the role of the teacher: "He wasn't a professional actor. He had a flat voice, he looked like a teacher." [13]


Southeast view of the house in Los Cerritos in Long Beach, California, used in the film Ferris Bueller house southeast view.jpg
Southeast view of the house in Los Cerritos in Long Beach, California, used in the film

"Chicago is what I am," said Hughes. [2] "A lot of Ferris is sort of my love letter to the city. And the more people who get upset with the fact that I film there, the more I'll make sure that's exactly where I film. It's funny—nobody ever says anything to Woody Allen about always filming in New York. America has this great reverence for New York. I look at it as this decaying horror pit. So let the people in Chicago enjoy Ferris Bueller." [2]

The Ben Rose House, in Highland Park, Illinois, served as the filming location for Cameron Frye's House Cameron's House.jpg
The Ben Rose House, in Highland Park, Illinois, served as the filming location for Cameron Frye's House

For the film, Hughes got the chance to take a more expansive look at the city he grew up in. "We took a helicopter up the Chicago River. This is the first chance I'd really had to get outside while making a movie. Up to this point, the pictures had been pretty small. I really wanted to capture as much of Chicago as I could, not just the architecture and the landscape, but the spirit." [2] Shooting began in Chicago on September 9, 1985. [18] In late October 1985, the production moved to Los Angeles, and shooting ended on November 22. [19] The Von Steuben Day Parade scene was filmed on September 28. Scenes were filmed at several locations in downtown Chicago and Winnetka (Ferris's home, his mother's real estate office, etc.). [20] Many of the other scenes were filmed in Northbrook, Illinois, including at Glenbrook North High School, on School Drive, the long, curvy street on which Glenbrook North and neighboring Maple Middle School are situated. [21] The exterior of Ferris's house is located at 4160 Country Club Drive, Long Beach, California, [20] which at the time of filming was the childhood home of Judge Thad Balkman. [22]

The modernist house of Cameron Frye is located in Highland Park, Illinois. Known as the Ben Rose House, [23] it was designed by architects A. James Speyer, who designed the main building in 1954, and David Haid, who designed the pavilion in 1974. It was once owned by photographer Ben Rose, who had a car collection in the pavilion. In the film Cameron's father is portrayed as owning a Ferrari 250 GT California in the same pavilion. [24] According to Lake Forest College art professor Franz Shulze, during the filming of the scene where the Ferrari crashes out of the window, Haid explained to Hughes that he could prevent the car from damaging the rest of the pavilion. [25] Haid fixed connections in the wall and the building remained intact. Haid said to Hughes afterward, "You owe me $25,000", which Hughes paid. [25] In the DVD commentary for the film, Hughes mentions that they had to remove every pane of glass from the house to film the car crash scene, as every pane was weakened by age and had acquired a similar tint, hence replacement panels would be obvious. Hughes added that they were able to use the house because producer Ned Tanen knew the owner because they were both Ferrari collectors. [26] Other scenes were shot in Chicago, River Forest, Oak Park, Northbrook, Highland Park, Glencoe and Winnetka, Lake Forest and Long Beach, California.

Hughes says The Art Institute of Chicago was a "place of refuge" in his youth. Art Institute of Chicago from south.jpg
Hughes says The Art Institute of Chicago was a "place of refuge" in his youth.

According to Hughes, the scene at the Art Institute of Chicago was "a self-indulgent scene of mine—which was a place of refuge for me, I went there quite a bit, I loved it. I knew all the paintings, the building. This was a chance for me to go back into this building and show the paintings that were my favorite." The museum had not been shot in, until the producers of the film approached them. [13] "I remember Hughes saying, 'There are going to be more works of art in this movie than there have ever been before,'" recalled Jennifer Grey. [4] Among notable works featured in this scene include A Sunday Afternoon on the Island of La Grande Jatte (Georges Seurat, 1884), during which Cameron struggles to find his identity in the face of one of the children in the painting, and America Windows (Marc Chagall, 1977), in front of which Ferris and Sloane have a romantic moment. [27]

According to editor Paul Hirsch, in the original cut, the museum scene fared poorly at test screenings until he switched sequences around and Hughes changed the soundtrack. [28]

The piece of music I originally chose was a classical guitar solo played on acoustic guitar. It was nonmetrical with a lot of rubato. I cut the sequence to that music and it also became nonmetrical and irregular. I thought it was great and so did Hughes. He loved it so much that he showed it to the studio but they just went "Ehhh." Then after many screenings where the audience said "The museum scene is the scene we like least", he decided to replace the music. We had all loved it, but the audience hated it. I said, 'I think I know why they hate the museum scene. It's in the wrong place.' Originally, the parade sequence came before the museum sequence, but I realized that the parade was the highlight of the day, there was no way we could top it, so it had to be the last thing before the three kids go home. So that was agreed upon, we reshuffled the events of the day, and moved the museum sequence before the parade. Then we screened it and everybody loved the museum scene! My feeling was that they loved it because it came in at the right point in the sequence of events. John felt they loved it because of the music. Basically, the bottom line is, it worked. [28]

The music used for the final version of the museum sequence is an instrumental cover version of The Smiths' "Please, Please, Please, Let Me Get What I Want", performed by The Dream Academy. A passionate Beatles fan, Hughes makes multiple references to them and John Lennon in the script. During filming, Hughes "listened to The White Album every single day for fifty-six days". [29] Hughes also pays tribute to his childhood hero Gordie Howe with Cameron's Detroit Red Wings jersey. [30] "I sent them the jersey", said Howe. "It was nice seeing the No. 9 on the big screen." [31]


A 1961 Ferrari GT California 1961-ferrari-rc.jpg
A 1961 Ferrari GT California

In the film, Ferris convinces Cameron to borrow his father's rare 1961 Ferrari 250 GT California Spyder. "The insert shots of the Ferrari were of the real 250 GT California", Hughes explains in the DVD commentary. "The cars we used in the wide shots were obviously reproductions. There were only 100 of these cars, so it was way too expensive to destroy. We had a number of replicas made. They were pretty good, but for the tight shots I needed a real one, so we brought one in to the stage and shot the inserts with it." [13]

Prior to filming, Hughes learned about Modena Design and Development who produced the Modena Spyder California, a replica of the Ferrari 250 GT. [32] Hughes saw a mention of the company in a car magazine and decided to research them. Neil Glassmoyer recalls the day Hughes contacted him to ask about seeing the Modena Spyder:

The first time he called I hung up on him because I thought it was a friend of mine who was given to practical jokes. Then he called back and convinced me it really was him, so Mark and I took the car to his office. While we were waiting outside to meet Hughes this scruffy-looking fellow came out of the building and began looking the car over; we thought from his appearance he must have been a janitor or something. Then he looked up at a window and shouted, 'This is it!' and several heads poked out to have a look. That scruffy-looking fellow was John Hughes, and the people in the window were his staff. Turned out it was between the Modena Spyder and a Porsche Turbo, and Hughes chose the Modena. [32]

Automobile restorationist Mark Goyette designed the kits for three reproductions used in the film and chronicled the whereabouts of the cars today: [33]

  1. "Built by Goyette and leased to Paramount for the filming. It's the one that jumps over the camera, and is used in almost every shot. At the end of filming, Paramount returned it to Goyette, with the exhaust crushed and cracks in the body. "There was quite a bit of superficial damage, but it held up amazingly well", he said. He rebuilt it, and sold it to a young couple in California. The husband later ran it off the road, and Goyette rebuilt the front end for him. That owner sold it in the mid-90s, and it turned up again around 2000, but hasn't emerged since." [33]
  2. "Sold to Paramount as a kit for them to assemble as their stunt car, they did such a poor job that it was basically unusable, aside from going backwards out the window of Cameron's house. Rebuilt, it ended up at Planet Hollywood in Minneapolis and was moved to Planet Hollywood in Cancun when this one was closed." [33]
  3. "Another kit, supposed to be built as a shell for the out the window scene, it was never completed at all, and disappeared after the film was completed. Goyette thinks he once heard it was eventually completed and sold off, but it could also still be in a back lot at Paramount." [33]

One of the "replicars" was sold by Bonhams on April 19, 2010, at the Royal Air Force Museum at Hendon, United Kingdom for £79,600. [34] [35]

The "replicar" was "universally hated by the crew", said Ruck. "It didn't work right." The scene in which Ferris turns off the car to leave it with the garage attendant had to be shot a dozen times because it would not start. [4] The car was built with a real wheel base, but used a Ford V8 engine instead of a V12. [36] At the time of filming, the original 250 GT California model was worth $350,000. [4] Since the release of the film, it has become one of the most expensive cars ever sold, going at auction in 2008 for $10,976,000 [37] and more recently in 2015 for $16,830,000. [38] The vanity plate of Cameron's dad's Ferrari spells NRVOUS and the other plates seen in the film are homages to Hughes's earlier works, VCTN (National Lampoon's Vacation), TBC (The Breakfast Club), MMOM (Mr. Mom), as well as 4FBDO (Ferris Bueller's Day Off).

Economic lecture

Ben Stein's famous monotonous lecture about the Smoot–Hawley Tariff Act was not originally in Hughes's script. Stein, by happenstance, was lecturing off-camera to the amusement of the student cast. "I was just going to do it off camera, but the student extras laughed so hard when they heard my voice that (Hughes) said do it on camera, improvise, something you know a lot about. When I gave the lecture about supply-side economics, I thought they were applauding. Everybody on the set applauded. I thought they were applauding because they had learned something about supply-side economics. But they were applauding because they thought I was boring. ... It was the best day of my life", Stein said. [17]

Parade scene

The parade scene took multiple days of filming; Broderick spent some time practicing the dance moves. "I was very scared", Broderick said. "Fortunately, the sequence was carefully choreographed beforehand. We worked out all the moves by rehearsing in a little studio. It was shot on two Saturdays in the heart of downtown Chicago. The first day was during a real parade, and John got some very long shots. Then radio stations carried announcements inviting people to take part in 'a John Hughes movie'. The word got around fast and 10,000 people showed up! For the final shot, I turned around and saw a river of people. I put my hands up at the end of the number and heard this huge roar. I can understand how rock stars feel. That kind of reaction feeds you." [39] [40]

Broderick's moves were choreographed by Kenny Ortega (who later choreographed Dirty Dancing ). Much of it had to be scrapped though as Broderick had injured his knee badly during the scenes of running through neighbors' backyards. "I was pretty sore", Broderick said. "I got well enough to do what you see in the parade there, but I couldn't do most of Kenny Ortega's knee spins and things like that that we had worked on. When we did shoot it, we had all this choreography and I remember John would yell with a megaphone, 'Okay, do it again, but don't do any of the choreography,' because he wanted it to be a total mess." "Danke Schoen" was somewhat choreographed but for "Twist and Shout", Broderick said, "we were just making everything up". [4] Hughes explained that much of the scene was spontaneously filmed. "It just happened that this was an actual parade, which we put our float into—unbeknownst to anybody, all the people on the reviewing stand. Nobody knew what it was, including the governor." [13]

Wrigley Field

Ferris Bueller Night at Wrigley Field, October 1, 2011. Saveferris-wrigleyfield.jpg
Ferris Bueller Night at Wrigley Field, October 1, 2011.

Wrigley Field is featured in two interwoven and consecutive scenes. In the first scene, Rooney is looking for Ferris at a pizza joint while the voice of Harry Caray announces the action of a ballgame that is being shown on TV. From the play-by-play descriptions, the uniforms, and the player numbers, this game has been identified as the June 5, 1985, game between the Atlanta Braves and the Chicago Cubs. [18] [41] The batter rips a foul ball into the left field stands, and as Rooney looks away from the TV briefly, the TV cameras show a close up of Ferris a moment after catching it. The scene in the pizza joint continues as Rooney tries to banter about the game with the guy behind the counter.

In the next scene, Sloane, Cameron, and Ferris are in the left field stands inside Wrigley. Ferris flexes his hand in pain after supposedly catching the foul ball. During this scene, the characters enjoy the game and joke about what they would be doing if they had played by the rules. All these "in the park" shots, including the one from the previous scene where Ferris catches the foul ball on TV, were filmed on September 24, 1985, at a game between the Montreal Expos and the Cubs. During the 1985 season, the Braves and the Expos both wore powder blue uniforms during their road games. And so, with seamless editing by Hughes, it is difficult to distinguish that the game being seen and described in the pizza joint is not only a different game (the man at the pizzeria refers to the team playing as the NFL's Chicago Bears) but also a different Cubs' opponent than the one filmed inside the stadium. [42]

John Hughes had originally wanted to film the scene at the baseball game at Comiskey Park, as Hughes was a Chicago White Sox fan. However, due to time constraints, the location was moved to Wrigley Field at the last minute.

On October 1, 2011, Wrigley Field celebrated the 25th anniversary of the film by showing it on three giant screens on the infield. [43]

Save Ferris

Throughout the film a background sub-plot is developed that the public have heard that Ferris is very ill and are raising funds to save him. Several freshmen talk to Ferris on the phone and deduce that he is dying. In school, a teen is collecting money for Ferris and asks Jeanie for a donation. Jeanie swears at him and knocks the collection can out of his hands. Throughout the city the words 'Save Ferris' appear in various locations including the Wrigley Field main entry marquee, a hot air balloon, and a water tower. When the family arrives home, the hallway is filled with balloons and flowers wishing Ferris well.

Deleted scenes

Several scenes were cut from the final film; one lost scene entitled "The Isles of Langerhans" has the three teenagers trying to order in the French restaurant, shocked to discover pancreas on the menu (although in the finished film, Ferris still says, "We ate pancreas", while recapping the day). This is featured on the Bueller, Bueller Edition DVD. Other scenes were never made available on any DVD version. [44] These scenes included additional screen time with Jeanie in a locker room, Ferris' younger brother and sister (both of whom were completely removed from the film), and additional lines of dialogue throughout the film, all of which can be seen in the original theatrical trailer. Hughes had also wanted to film a scene where Ferris, Sloane, and Cameron go to a strip club. Paramount executives told him there were only so many shooting days left, so the scene was scrapped. [4]


Limited edition fan club soundtrack

An official soundtrack was not originally released for the film, as director John Hughes felt the songs would not work well together as a continuous album. [45] However, according to an interview with Lollipop Magazine, Hughes noted that he had sent 100,000 7" vinyl singles containing two songs featured in the film to members of his fan mailing list. [46]

Hughes gave further details about his refusal to release a soundtrack in the Lollipop interview:

The only official soundtrack that Ferris Bueller's Day Off ever had was for the mailing list. A&M was very angry with me over that; they begged me to put one out, but I thought "who'd want all of these songs?" I mean, would kids want "Danke Schoen" and "Oh Yeah" on the same record? They probably already had "Twist and Shout", or their parents did, and to put all of those together with the more contemporary stuff, like the (English) Beat—I just didn't think anybody would like it. But I did put together a seven-inch of the two songs I owned the rights to—"Beat City" on one side, and... I forget, one of the other English bands on the soundtrack... and sent that to the mailing list. By '86, '87, it was costing us $30 a piece to mail out 100,000 packages. But it was a labor of love. [46]

Songs in the film

"Danke Schoen" is one of the recurring motifs in the film and is sung by Ferris, Ed Rooney, and Jeanie. Hughes called it the "most awful song of my youth. Every time it came on, I just wanted to scream, claw my face. I was taking German in high school—which meant that we listened to it in school. I couldn't get away from it." [13] According to Broderick, Ferris's singing "Danke Schoen" in the shower was his idea. "Although it's only because of the brilliance of John's deciding that I should sing "Danke Schoen" on the float in the parade. I had never heard the song before. I was learning it for the parade scene. So we're doing the shower scene and I thought, 'Well, I can do a little rehearsal.' And I did something with my hair to make that Mohawk. And you know what good directors do: they say, 'Stop! Wait until we roll.' And John put that stuff in." [47]

2016 soundtrack

Ferris Bueller's Day Off
Soundtrack album by
various artists
ReleasedSeptember 13, 2016
Genre New wave
Label La-La Land Records

The soundtrack for the film, limited to 5,000 copies, was released on September 13, 2016 by La-La Land Records. The album includes new wave and pop songs featured in the film, as well as Ira Newborn's complete score, including unused cues. [48] Due to licensing restrictions, "Twist and Shout," "Taking The Day Off," and "March of the Swivelheads" were not included, but are available elsewhere. The Flowerpot Men's "Beat City" makes its first official release on CD with a new mix done by The Flowerpot Men's Ben Watkins and Adam Peters that differs from the original 7" fan club release. [48] [49]



The film largely received positive reviews from critics. Roger Ebert gave it three out of four stars, calling it "one of the most innocent movies in a long time," and "a sweet, warm-hearted comedy." [50] Richard Roeper called the film "one of my favorite movies of all time. It has one of the highest 'repeatability' factors of any film I've ever seen ... I can watch it again and again. There's also this, and I say it in all sincerity: Ferris Bueller's Day Off is something of a suicide prevention film, or at the very least a story about a young man trying to help his friend gain some measure of self-worth ... Ferris has made it his mission to show Cameron that the whole world in front of him is passing him by, and that life can be pretty sweet if you wake up and embrace it. That's the lasting message of Ferris Bueller's Day Off." [51] Roeper pays homage to the film with a license plate that reads "SVFRRIS". [52] Conservative columnist George Will hailed Ferris as "the moviest movie," a film "most true to the general spirit of the movies, the spirit of effortless escapism." [53]

Essayist Steve Almond called Ferris "the most sophisticated teen movie [he] had ever seen," adding that while Hughes had made a lot of good movies, Ferris was the "one film [he] would consider true art, [the] only one that reaches toward the ecstatic power of teendom [sic] and, at the same time, exposes the true, piercing woe of that age." Almond also applauded Ruck's performance, going so far as saying he deserved the Academy Award for Best Supporting Actor of 1986: "His performance is what elevates the film, allows it to assume the power of a modern parable." [54] The New York Times reviewer Nina Darnton criticized Mia Sara's portrayal of Sloane for lacking "the specific detail that characterized the adolescent characters in Hughes's other films", asserting she "created a basically stable but forgettable character." [55] [56] Conversely, Darnton praised Ruck and Grey's performances: "The two people who grow in the movie—Cameron, played with humor and sensitivity by Alan Ruck, and Ferris's sister Jeanie, played with appropriate self-pity by Jennifer Grey—are the most authentic. Grey manages to play an insufferably sulky teen-ager who is still attractive and likable." [55]

Co-star Ben Stein was exceptionally moved by the film, calling it "the most life-affirming movie possibly of the entire post-war period." [57] "This is to comedies what Gone with the Wind is to epics," Stein added. "It will never die, because it responds to and calls forth such human emotions. It isn't dirty. There's nothing mean-spirited about it. There's nothing sneering or sniggering about it. It's just wholesome. We want to be free. We want to have a good time. We know we're not going to be able to all our lives. We know we're going to have to buckle down and work. We know we’re going to have to eventually become family men and women, and have responsibilities and pay our bills. But just give us a couple of good days that we can look back on." [58]

National Review writer Mark Hemingway lauded the film's celebration of liberty. "If there's a better celluloid expression of ordinary American freedom than Ferris Bueller's Day Off, I have yet to see it. If you could take one day and do absolutely anything, piling into a convertible with your best girl and your best friend and taking in a baseball game, an art museum, and a fine meal seems about as good as it gets," wrote Hemingway. [59]

Others were less enamored with Ferris, many taking issue with the film's "rebel without a cause" hedonism. David Denby of New York Magazine, called the film "a nauseating distillation of the slack, greedy side of Reaganism." [60] Author Christina Lee agreed, adding it was a "splendidly ridiculous exercise in unadulterated indulgence," and the film "encapsulated the Reagan era's near solipsist worldview and insatiable appetite for immediate gratification—of living in and for the moment...." [61] Gene Siskel panned the film from a Chicago-centric perspective saying "Ferris Bueller doesn't do anything much fun ... [t]hey don't even sit in the bleachers where all the kids like to sit when they go to Cubs games." [62] Siskel did enjoy the chemistry between Jennifer Grey and Charlie Sheen. Ebert thought Siskel was too eager to find flaws in the film's view of Chicago. [62]

It has an aggregate "Certified Fresh" score of 80% (based on 64 critics' reviews) on Rotten Tomatoes, and an average rating of 7.71/10. The website's critical consensus reads: "Matthew Broderick charms in Ferris Bueller's Day Off, a light and irrepressibly fun movie about being young and having fun." [63]


Broderick was nominated for a Golden Globe Award in 1986 for Best Actor – Motion Picture Musical or Comedy.

Box office

The film opened in 1,330 theaters in the United States and had a total weekend gross of $6,275,647, opening at #2. Ferris Bueller's Day Off's total gross in the United States was approximately $70,136,369, making it a box office success. [1] It subsequently became the 10th-highest-grossing film of 1986. [64]


As an influential and popular film, Ferris Bueller's Day Off has been included in many film rating lists. The film is number 54 on Bravo's "100 Funniest Movies", came 26th in the British 50 Greatest Comedy Films and ranked number 10 on Entertainment Weekly's list of the "50 Best High School Movies". [65]

Cultural impact

Barbara Bush used dialogue from the film at a commencement speech Barbara Bush portrait.jpg
Barbara Bush used dialogue from the film at a commencement speech

Hughes said of Bueller, "That kid will either become President of the United State[s] or go to prison". [66] First Lady Barbara Bush paraphrased the film in her 1990 commencement address at Wellesley College: "Find the joy in life, because as Ferris Bueller said on his day off, 'Life moves pretty fast; if you don't stop and look around once in a while, you could miss it!'" Responding to the audience's enthusiastic applause, she added "I'm not going to tell George you clapped more for Ferris than you clapped for George." [67]

Other phrases from Ferris Bueller's Day Off such as Stein's nasally-voiced "Bueller? ...Bueller? ...Bueller?" (while taking roll call in class), and "Anyone? Anyone?" (trying to probe the students for answers) as well as Kristy Swanson's cheerful "No problem whatsoever!" also permeated popular culture. [68] In fact, Stein's monotone performance launched his acting career. [69] In 2016, Stein reprised the attendance scene in a campaign ad [70] for Iowa Senator Charles Grassley; Stein intoned the last name of Grassley's opponent (Patty Judge), to silence, while facts about her missed votes and absences from state board meetings were listed. Stein then calls out "Grassley," which gets a response; Stein mutters, "He's always here." [71]

Broderick said of the Ferris Bueller role, "It eclipsed everything, I should admit, and to some degree it still does." [4] Later at the 2010 Oscar tribute to Hughes, he said, "For the past 25 years, nearly every day someone comes up to me, taps me on the shoulder and says, 'Hey, Ferris, is this your day off?'" [72]

Ruck says that with Cameron Frye, Hughes gave him "the best part I ever had in a movie, and any success that I've had since 1985 is because he took a big chance on me. I'll be forever grateful." [73] "While we were making the movie, I just knew I had a really good part", Ruck says. "My realization of John's impact on the teen-comedy genre crept in sometime later. Teen comedies tend to dwell on the ridiculous, as a rule. It's always the preoccupation with sex and the self-involvement, and we kind of hold the kids up for ridicule in a way. Hughes added this element of dignity. He was an advocate for teenagers as complete human beings, and he honored their hopes and their dreams. That's what you see in his movies." [73]

Broderick starred in a television advertisement prepared by Honda promoting its CR-V for the 2012 Super Bowl XLVI. The ad pays homage to Ferris Bueller, featuring Broderick (as himself) faking illness to skip out of work to enjoy sightseeing around Los Angeles. Several elements, such as the use of the song "Oh Yeah", and a valet monotonously calling for "Broderick... Broderick...", appear in the ad. A teaser for the ad had appeared two weeks prior to the Super Bowl, which had created rumors of a possible film sequel. [74] It was produced by Santa Monica-based RPA and directed by Todd Phillips. [75] AdWeek's Tim Nudd called the ad "a great homage to the original 1986 film, with Broderick this time calling in sick to a film shoot and enjoying another day of slacking." [75] On the other hand, Jalopnik's Matt Hardigree called the spot "sacrilegious". [76] [77]

Besides breaking the fourth wall in similar ways, the 2016 film Deadpool recreated Ferris Bueller's end credits scene in their own end credits, with Deadpool coming out in a bathrobe with a towel around his head, asking the audience why they were still there.

The film has been parodied in television series, with characters taking a day off from their normal routine to have a day of adventure. Examples include the episodes "Barry's Day Off" from The Goldbergs , [78] and "Brian Finch's Black Op" from Limitless . [79]

In March 2017, Domino's Pizza began an advertising campaign parodying the film, featuring actor Joe Keery in the lead role. [80]


The film's influence in popular culture extends beyond the film itself to how musical elements of the film have been received as well, for example, Yello's song "Oh Yeah". As Jonathan Bernstein explains, "Never a hit, this slice of Swiss-made tomfoolery with its varispeed vocal effects and driving percussion was first used by John Hughes to illustrate the mouthwatering must-haveness of Cameron's dad's Ferrari. Since then, it has become synonymous with avarice. Every time a movie, TV show or commercial wants to underline the jaw-dropping impact of a hot babe or sleek auto, that synth-drum starts popping and that deep voice rumbles, 'Oh yeah . . .'" [81] Yello was unheard of in the United States at the time, but the inclusion of their song in Ferris Bueller and The Secret of My Success the following year sparked great interest in the song, where it reached the Billboard "Hot 100" and US Dance charts in 1987. [82] [83] It often became referred to as "the Ferris Bueller song" due to its attachment with the movie. [84] For Dieter Meier, one of the Yello members, he was able to use the licensing fees from "Oh Yeah"'s appearance in Ferris Bueller and other films to start a series of investments and amassed a large fortune. [85]

While Paul McCartney admitted that he liked the movie, he personally disliked the "Twist and Shout" sequence for its inclusion of brass instruments. Paul McCartney black and white 2010.jpg
While Paul McCartney admitted that he liked the movie, he personally disliked the "Twist and Shout" sequence for its inclusion of brass instruments.

Concerning the influence of another song used in the film, Roz Kaveney writes that some "of the finest moments in later teen film draw on Ferris's blithe Dionysian fervour — the elaborate courtship by song in 10 Things I Hate About You (1999) draws usefully on the "Twist and Shout" sequence in Ferris Bueller's Day Off". [87] "Twist and Shout" charted again, 16 years after the Beatles broke up, as a result of its prominent appearance in both this film and Back To School (where Rodney Dangerfield performs a cover version) which was released the same weekend as Ferris Bueller's Day Off. The re-released single reached #23 in the U.S; a US-only compilation album containing the track The Early Beatles , re-entered the album charts at #197. The version heard in the film includes brass overdubbed onto the Beatles' original recording, which did not go down well with Paul McCartney. "I liked [the] film but they overdubbed some lousy brass on the stuff! If it had needed brass, we'd had stuck it on ourselves!" [86] Upon hearing McCartney's reaction, Hughes felt bad for "offend[ing] a Beatle. But it wasn't really part of the song. We saw a band [onscreen] and we needed to hear the instruments." [13]

The bands Save Ferris and Rooney were named in allusion to Ferris Bueller's Day Off. [88] [ self-published source ] [89]


Broderick and Hughes stayed in touch for a while after production. "We thought about a sequel to Ferris Bueller, where he'd be in college or at his first job, and the same kind of things would happen again. But neither of us found a very exciting hook to that. The movie is about a singular time in your life." [47] "Ferris Bueller is about the week before you leave school, it's about the end of school—in some way, it doesn't have a sequel. It's a little moment and it's a lightning flash in your life. I mean, you could try to repeat it in college or something but it's a time that you don't keep. So that's partly why I think we couldn't think of another", Broderick added. "But just for fun", said Ruck, "I used to think why don't they wait until Matthew and I are in our seventies and do Ferris Bueller Returns and have Cameron be in a nursing home. He doesn't really need to be there, but he just decided his life is over, so he committed himself to a nursing home. And Ferris comes and breaks him out. And they go to, like, a titty bar and all this ridiculous stuff happens. And then, at the end of the movie, Cameron dies." [4]

Academic analysis

Many scholars have discussed at length the film's depiction of academia and youth culture. For Martin Morse Wooster, the film "portrayed teachers as humorless buffoons whose only function was to prevent teenagers from having a good time". [90] Regarding not specifically teachers, but rather a type of adult characterization in general, Art Silverblatt asserts that the "adults in Ferris Bueller's Day Off are irrelevant and impotent. Ferris's nemesis, the school disciplinarian, Mr. Rooney, is obsessed with 'getting Bueller.' His obsession emerges from envy. Strangely, Ferris serves as Rooney's role model, as he clearly possesses the imagination and power that Rooney lacks. ... By capturing and disempowering Ferris, Rooney hopes to ... reduce Ferris's influence over other students, which would reestablish adults, that is, Rooney, as traditional authority figures." [91] Nevertheless, Silverblatt concludes that "Rooney is essentially a comedic figure, whose bumbling attempts to discipline Ferris are a primary source of humor in the film". [91] Thomas Patrick Doherty writes that "the adult villains in teenpics such as ... Ferris Bueller's Day Off (1986) are overdrawn caricatures, no real threat; they're played for laughs". [92] Yet Silverblatt also remarks that casting "the principal as a comic figure questions the competence of adults to provide young people with effective direction—indeed, the value of adulthood itself". [91]

Adults are not the stars or main characters of the film, and Roz Kaveney notes that what "Ferris Bueller brings to the teen genre, ultimately, is a sense of how it is possible to be cool and popular without being rich or a sports hero. Unlike the heroes of Weird Science, Ferris is computer savvy without being a nerd or a geek — it is a skill he has taken the trouble to learn." [93]

In 2010, English comedian Dan Willis performed his show "Ferris Bueller's Way Of..." at the Edinburgh Festival, delving into the philosophy of the movie and looking for life answers within. [94]

Home media and other releases

The film was first released on VHS and Laserdisc in 1987, and then re-released on VHS in 1996. The film has been released on DVD three times; including the original DVD release October 19, 1999, the Bueller... Bueller edition January 2006, and the I Love the '80s edition August 19, 2008. [95] The original DVD, like most Paramount Pictures films released on DVD for the first time, has very few bonus features, but it does feature a commentary by Hughes. Though this is no longer available for sale, the director's commentary is available. [96] The Bueller... Bueller re-release has several more bonus features, but does not contain the commentary track of the original DVD release. The I Love the '80s edition is identical to the first DVD release (no features aside from commentary), but includes a bonus CD with songs from the 1980s. The songs are not featured in the film. The Bueller... Bueller edition has multiple bonus features such as interviews with the cast and crew, along with a clip of Stein's commentaries on the film's philosophy and impact. The Blu-ray Disc release (which is a part of the Bueller... Bueller edition, with the same bonus material) was first released on May 5, 2009. A 25th anniversary edition for DVD and Blu-ray were both released on August 2, 2011. [95] In the United Kingdom, an 80s Collection edition with new artwork was released on DVD in 2018 with the same six bonus features as the 2006 issue. [97]

In 2016 Paramount, Turner Classic Movies, and Fathom Events re-released the film and Pretty in Pink to celebrate their 30th anniversary. [98]

Television series

In 1990, a series called Ferris Bueller started for NBC, starring Charlie Schlatter as Ferris Bueller, Jennifer Aniston as Jeanie Bueller, [99] and Ami Dolenz as Sloane Peterson. The series served as a prequel to the film. In the pilot episode, the audience sees Schlatter cutting up a cardboard cutout of Matthew Broderick, saying that he hated Broderick's performance as him. It was produced by Maysh, Ltd. Productions in association with Paramount Television. In part because of competition of the similar series on the Fox Television Network, Parker Lewis Can't Lose , [100] the series was canceled after the first thirteen episodes aired. Both Schlatter and Aniston later had success on other TV shows, Schlatter on Diagnosis: Murder and Aniston on Friends .

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Oil and Vinegar is a screenplay that was written but never filmed. It is a screenplay that John Hughes wrote and that Howard Deutch planned to direct. It would have starred Molly Ringwald and Matthew Broderick.

Ben Rose House building in Illinois, United States

The Ben Rose House is a private residence designed by modernist architect A. James Speyer, a student of Mies van der Rohe and built in the Chicago suburb of Highland Park, Illinois in 1953. The property sits "surrounded by trees in a ravine" and "was held up as a model for steel home craftsmanship." Textile artist Ben Rose and his wife, Francis, moved into the property the same year. An adjoining pavilion meant to showcase the Roses' collection of exotic sports cars was added by David Haid, Speyer's student, in 1974. The house was designated an official local landmark in 1987. The two buildings are steel framed, rectangular glass-and-wood boxes, and similar to Mies' iconic Farnsworth House, are both lifted above the ground on pylons.

The following is a list of unproduced John Hughes projects in roughly chronological order. During his long career, American film director John Hughes has worked on a number of projects which never progressed beyond the pre-production stage under his direction. Some of these productions fell in development hell or were cancelled.


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