( the characters -3- )

Alex - Jonathan | John C. - Martin | Matt - Winston


Down By the River
River's Edge (1986)

Distinguishing Feature:His good friend Layne, who is a Crispin.
What He Taught Us:'Food eater' makes an excellent insult.

(Anakin McFly:) Like most teenagers out there, he's frustrated with life and feels generally misunderstood and neglected, sometimes feeling like the only sane one around whom no one understands. Injustice in his own life makes him want to put things right where he can, so as not to cause more problems. He is disillusioned with the world and rebels against it; yet his rebellion is borne out of a disatisfaction with life and its stupidities rather than out of a desire to look cool.

He feels responsible for his siblings, seeing as how their mother isn't doing that good of a job. He cares especially for his younger sister, and doesn't like the idea of her having to grow up in the present society.

Yet at the same time he knows that it is that society that has made him and is what gives him his identity and security in knowing his place in life. He could have been a better person in better circumstances.

Michael 'Mick' Riley

Wise Beyond His Years
Young Again (1986)

Age:Subject to change
Occupation:As above
Distinguishing Feature:Sometimes he talks to himself. But though he's crazy, he's harmless.
What He Taught Us:If you screw up your life, you could always try again.

(Anakin McFly:) bamf

Nelson Moss

Top Dog
Sweet November (2001)

Occupation:Advertising executive
Distinguishing Feature:Rolling stones do not gather him.
What He Taught Us:Never say never.

(LucaM:) "I AM Nelson Moss!" -- well...in a certain way, there's nothing wrong with being Nelson Moss, as long as there'll be a Sara Deever to act as a guiding compass... Nelson Moss was intense, driven, hard-working, self-willed, obsessed with his work to the very detail, because he thought -- or convinced himself- that his work, the results and the awards and the reputation, all that define himself. He identified with the image of himself seen in the mirror and in other people's minds. His arrogance was just a mask --to hide his discomfort around people who contradicted his choices or his self-imposed way of life. He had all the right qualities, but used them for the ...wouldn't say 'wrong', but "mistaken' goal. He refused to feel or allow other people's feelings get to him, because he suffered too much as a child --and the irony is he was just a collateral victim of his father's 'failure' .

but then, living up to that image created by himself takes too much of his energy, and the mirror cracks. All he needed was a keen eye to see his potential and a catalyst to redirect it and put his qualities to good use -- learning how to be himself. and when he does that, he's not only transformed, but in return affects also the ones around him in a positive way. it's kind of a 'boomerang effect' Sara had her own problems with facing reality; she 'saved' him but in return he 'saved' her...


(Keanu Reeves:) I play a kind of self-possessed, self-obsessed, self-centered ad executive whose life is in crisis. He doesn't know it, but he's in the middle of a nervous breakdown. He runs into Charlize Theron's character, and she says that she can help me. And I don't know what she's talking about. But she offers to let me spend a month with her. I still don't know what she's talking about. I get fired from my job, I lose my girlfriend, my life disintegrates. It's about, I guess, how these two people come together and learn to love each other, accept the kind of stories of their -- their own stories get told, and through the sharing of that, they kind of come together.

[Nelson is] an ad executive who is very work oriented, to the sacrifice of his capability or desire for intimacy, for any kind of compassion. He's just a very driven person. Very carnal, very aggressive. It's like, do you do anything for yourself? What do you do for fun? My character has no answer. In an odd way, he's kind of addicted to his work and what that's done to him. He knows no other way, doesn't want to see any other way.

He grew up poor, an only child whose parents are dead. My take on him is that his father sold door-to-door and wasn't very good at it. Subconsciously, Nelson is trying to become the successful version of his father. But in manifesting that, he has shut off the part of himself that allows him to feel.

[He] gets to love someone and through that discovers the bounty of life, as opposed to being closed off. He's working so hard, he doesn't know he's lonely. Once he meets this woman, it's revealed to him who he really is.

There's still a part of Nelson that is alive and Sara recognizes that. She tells him that he's miserable. And Nelson says, 'No, I'm not miserable. I'm successful.' But once he slows down, he realizes that he is miserable. The love that grows between them opens up a whole new world for him. He can smell the flowers. With love and appreciation of this other person, he becomes more human.

Ortiz the Dogboy

Half Dog, Half Man - His Own Best Friend
Freaked (1993)

What About In Dog Years?Still unknown.
That's His Species, Not His Occupation:Such are the effects of the recession.
Distinguishing Feature:An essential dogness.
What He Taught Us:Woof.

(Anakin McFly:) Dogstar!

Paul Sutton

Almost a Skywalker
A Walk in the Clouds (1995)

Occupation:War veteran and chocolates salesman
Is That Like An Insurance Salesman?No, better. You can't eat insurance.
Distinguishing Feature:A hat.
That's Not A Distinguishing Feature:Yes it is. When have you ever seen Paul without a hat?
What About Here:
There is a hat. Your eyes deceive you. Look closely -> . See?
What He Taught Us:Clouds can be walked on.

(Keanu Reeves:) Paul's a simple man, straight ahead, fairly good natured, kind. He's an orphan and he's coming back from the Second World War, fighting in the Pacific, and his experiences. I think have created in him a sense of sensitivity to emotions and people -- he just wants to have a family and a wife. For him, it was about taking responsibility for himself and for the others around him. I was attracted by the passion of the character. There is an honor about him. I wanted to have a man who through his experiences had come back desperately lonely, had seen death, and that caused in him an appreciation for life.

Through my imagination, I was trying to figure out what makes my character so sensitive. Why does he care about life so much? What does he want? I imagined this experience where I was coming up toward this Japanese stronghold with my partner. I imagined that he was beside me, and then I heard this sound. And I looked over and... his jaw was gone. And there was all this blood, and he was making these sounds.

That was probably one of the more enjoyable aspects of the role, the preparation of Paul in myself - how he was when he came off the boat. I really had a great time doing imaginative work, creating the events that happened to him in Japan, that sensitised him to life and the preciousness of life. It was great fun to play a person who felt like that. It was great to come back as someone who just cared and just wanted to give. It was one of the best elements of the film, that and how he cared about Victoria. It was just beyond his personality, it's just human. It was cool that I got to play that.

Dr. Perry Lyman

It's a dentist! Run! SAVE YOURSELVES!
Thumbsucker (2005)

Distinguishing Feature:Creepy dentist vibes.
What He Taught Us:To brusheth our teeth and not sucketh our thumbs.

(Anakin McFly:) Philosophical dentist who can't quite decide what he thinks about life, which frustrates him, secretly, in bursts of private controlled anger that the public only glimpse, tempered with a paternal, almost motherly gentleness.


(Keanu Reeves:) Perry is a mentor, but he is an adult going through what Lou's character is going through. Perry is kind of an orphan. He's searching. I liked his richness of feeling. I don't know how else to describe it. No matter what he was doing, he felt it. He just seemed so open. I really enjoyed where he ended up. And where he started. He's an orthodontist with some ideas about life.

Ron Petrie

One Step Away (1985)

Age:Late teens
Distinguishing Feature:He appears to have an earring in his left ear.
What He Taught Us:Nothing's coming to mind.

(Anakin McFly:) Rebellious smart aleck, defiant of authority but it's mostly just an act, for when it gets down to it he still has his own internal sense of right and wrong which he feels pressured to follow.

Rupert Marshetta

The Prince
The Prince of Pennsylvania (1988)

Age:Late teens
Occupation:The prince of Pennsylvania.
Distinguishing Feature:Hair.
Isn't That Marlon's Distinguishing Feature?Yeah, but they can share.
What He Taught Us:Fridge doors are detachable and make for great company on walks.

(Keanu Reeves:) He's a nice guy and he tries. He's a bit pathetic, but he's also heroic. I like him. He's twisted and crazy.

Scott Favor

In a Personal Idaho of Privacy
My Own Private Idaho (1991)

Distinguishing Feature:Narcoleptic friend named Mike
What He Taught Us:To have a nice day.

(stellala:) Rich boy who goes slumming, Scott is ambitious and willing to sacrifice those around him to get ahead in whatever world he finds himself. Though he leaves his family, he has no intention of losing his inheritance or his family's political clout. He uses the promise of this inheritance to gain Bob's trust, which gives him prestige in Bob's world.

Bob's world, however, is less promising for an ambitious man than politics. By the time we meet Scott, he is almost of age, bored with Bob, and ready to return to his family. Before he does so, he decides to have one last adventure: he will help Mike find his long-lost mother. Mike is an ideal companion: Scott likes Mike as much as he is capable of liking anyone, and on some level he does want to help Mike find his mom. I think that the campfire scene and Mike's confession of love shock Scott but don't change his mind. Ultimately, whatever he feels for Mike is immaterial. He is determined to leave Mike's world and enter another, and he has no intention of taking Mike with him into that world.

By the end of the film, Scott has betrayed almost every person in the film other than his Italian girl friend. He ditches Mike in a hotel room in Italy, with plane tickets to the States. This is probably the nicest thing he will ever do for people like Mike. His response to reading about his dad's death is to smile. He betrays Bob, lying to his family about his past at the same time. I think of Scott as Van Sant's idea of a young politician: politicians can't be heroic. They are unreliable betrayers of public trust.


(Anakin McFly:) Recalcitrant rich kid, rebellious for the sake of rebellion, quietly manipulating others for his own selfish ends, betraying their trust and leaving.

Shane Falco

The Replacements (2000)

Age:Late 20s, saith the script
Occupation:Who lives in a pineapple under the sea Ex-quarterback, cleans ships
Distinguishing Feature:Absorbent and yellow and porous is he Kinda accident prone.
What He Taught Us:If nautical nonsense is something you wish Pain heals, chicks dig scars, glory lasts forever.

(Keanu Reeves:) I felt like Shane was the center of the kind of stillness, and that everyone else could kind of orbit off of and around and, react around. He kind of watches everything.

I've always thought of him as a fairly noble character. He's a professional. He was a professional athlete who had a disastrous Sugar Bowl and a disastrous first two years in the NFL. It's this guy who needs a second chance. He's a hard-luck guy who is severely underestimated.


Little Buddha (1993)

Occupation:The Buddha
Distinguishing Feature:Far more orange than any human has the right to be.
What He Taught Us:The Four Noble Truths, the Eight-Fold Path, and how to spell 'Siddhartha'. (Everything I Need To Know About Spelling, I Learnt From Keanu Reeves.)

(keanugirl76:) Even though Prince Siddhartha is not the main protagonist in Little Buddha, undoubtedly he's the leading thread of this movie. He enters the scene and comes out of it with elegance, humility and simplicity. His story is told as a sort of fairy tale and it's not pretentious at all, as it never overcomes - it doesn't want to - the rest of the movie. It's majestic and humble, just like the way the Hindu Prince indeed is.

He connects time and space - present America with present and old Bhutan - and people. Thanks to his story written a book, a modern child and his parents family get acquainted with him. His myth is the mean by which a group of monks spreads successfully their - and his - message: consider beings not for the way they look, but for their intimate essence; respect all the aspects of life by concentrating on any detail, as even the smallest has its own precise meaning and is part of the infinity; accept anything, included sorrow, disease and death, with humility and serenity, just as the local - modern and old - people do.

Indeed, in spite of extreme conditions of poverty and suffering, Oriental world is represented like a rich land, especially in warm colours like gold and orange - which can be noticed even on Siddhartha's skin - smartly used to represent the spiritual wealth of its inhabitants.

On the contrary, Western world is shown mainly in blue and grey, in order to emphasize its extreme rationalism and the lack of spiritual values in spite of rich material conditions. Jesse's house, for instance, is big and comfortable, but cold and dark as well.

Of course Prince Siddharta is predestined and gifted since his birth and he could have lived happy, protected and rich in his palace and become a great king, but it's his condition of humble, ordinary man - just like the ones he chooses to spend his life with - that, at the end, allows him to reach enlightenment. His humility, patience and tolerance are the weapons through which he faces the dark sides of life, such as threats, intimidation, temptation, doubt, fear. So unmoved and unperturbed he achieves great peacefulness and compassion, through self-detachment from illusions.

Keanu is great in this role. He's handsome - of course like classical princes should be - and very expressive. He doesn't talk a lot and he has to sit still most of the time, yet he manages to convey all Siddhartha's typical moral features just with a deep glance - which really seems to reach infinity - and a simple, peaceful smile. The portrayal of this mystique figure - as well as his complexity - in very few words and gestures, could have been a very difficult test for Keanu, who, on the contrary, passed it excellently.

This proves, once again, his versatility.

Ted 'Theodore' Logan

Wyld Stallyn
Bill & Ted's Excellent Adventure (1989), Bill & Ted's Bogus Journey (1991)

Age:17 & 22 respectively
Occupation:Wannabe rock star
Distinguishing Feature:His most triumphant friend Bill S. Preston Esquire
What He Taught Us:Be excellent to each other.

(Anakin McFly:) Not exactly the brightest teenager out there, but what he lacks in IQ he makes up for with EQ, an interesting vocabulary and a creative mind. He's a nice guy: friendly, helpful, generous, honest except in mischief, selfless, and expects no personal gain from any of that. He holds no grudges.

Ted is easily awed and impressed by things. He goes through life with a sense of childlike wonder at stuff that the average person wouldn't find particularly interesting or significant. He has a sense of innocence about him that would probably persist even if he were engaging in various crimes and vices such as serial killing, because there would probably be some kind of justification for those acts that would make sense in Ted-logic and turn out to have ulterior motives of the mostly-good kind.

Like his best friend Bill, he is free of prejudices; he always sees the good in others, and almost everyone is a potential friend (with the possible exception of royal ugly dudes and suchlike). He has a strong sense of right and wrong, and holds a faint puzzlement towards why anyone would choose the latter.

Most of the time - especially in school - his mind is elsewhere, leading him to be cheerfully oblivious of what's going on around him. He's also kind of gullible; he trusts others too easily, and misplaced trust could have the potential to hurt him most. Yet somehow he survives. Ted will prevail. \o/

He can't play guitar, but that doesn't stop him from trying anyway. Which is good for him but not so good for those that have to listen.


(Keanu Reeves:) I love Ted, I love playing Ted. He had such a wonderful take on the world. To play someone who had that exuberance and love of life was really impactful. He's extremely innocent, a total clown and a really good guy. Goofy but cool.

Ted is not spaced out. I love Ted. It changed my life when I played Ted. I tapped into something in myself that I hadn't really seen. To have a best friend, and say, "Whoa, man! I want to live like that"; to have his kind of openness and thinking and spirit - it's a real place to be in. There's a lot of joy in that guy. And mirth. He loves practical jokes and rock and roll. He's a pretty straight-up guy. He just wants to be cool and have some fun. He's innocent, and he's hopeful. I want to live like him.

Maybe Ted's an archetype, but to me he's merely a sweet slob. He has tremendous joie de vivre. And he's so non-judgmental - hyper-violent Japanese cartoons, John Woo movies... I can imagine Ted enjoying entertainment for the surface thrills without getting contaminated. Life's simple for him. He reacts with open-hearted wonder. He's easy with himself and the world. And that ease is something I found myself reluctant to give up.

He wants to see the best and is really alive in the best way. I don't know, he's in grace. Ted is a real dreamer, a bit naive, but always a positive and nurturing force within Bill and Ted's friendship. Really, they are so connected, they're the same guy. It's kind of scary - they're two dudes in a pod.

I had a lot of fun doing Ted again. He's always gonna be with me and I'm always gonna be in him. That's a part of me. And I learned a lot from Ted. That part's taught me a lot of things that I took for myself and applied to my life. There's the joy of his outlook. He is a very sincere young man, he's a good guy, and he just wants to laugh and play rock'n'roll, y'know? It's not that complicated, and it's a reaction to his environment.

And I learned so much from the character of Ted - much more than I put into it. I was really grabbed by his lifeview, his energy, his kind of joie de vivre. And he was such a kind guy. So unjudgemental. He was so turbo-charged and exploding, he made me feel really young again.

Thomas "Neo" Anderson

In Perpetual Search of Missing Cutlery
The Matrix (1999), The Matrix Reloaded, (2003), The Matrix Revolutions (2003)

Occupation:Software engineer, computer hacker, The One
Distinguishing Feature:Really Cool SunglassesTM
Then That Photo Is Not Neo:Shut up I like that pic.
What He Taught Us:There is no spoon.

(Anakin McFly:) A highly private person who prefers solitude and isn't too comfortable in social situations. They make him feel self-conscious - he can be easily embarrassed - and besides he'd rather be around his computer engaged in illegal activities. He usually keeps his thoughts to himself; in the exceptions, he withdraws even more after outbursts of emotion. His grief is private; he wishes not to burden others with his own problems.

Neo is a quiet rebel against things he deems unimportant. His day job is just something he does either for a steady salary, out of habit, or as a cover. That life is otherwise ignored; the only life he really cares about is the one where he goes by the name of Neo, because that life and that identity is his own creation and thus under his full control. He likes that.

He is a reluctant leader and unwilling saviour, but at the same time knows his duty and will carry it out if he believes in it. He is determined and not easily swayed by others once he has made up his mind. He plans ahead.

He dislikes change or any kind of shock to his perceived notion of how the universe works. Most of his life was spent with the feeling that things were not quite right. He didn't know why, and he didn't like it. When he asks questions, the purpose isn't so much to learn more, but more for the ability to re-assort the very confusing universe back into convenient and predictable little boxes that make sense.

He is human. He has his doubts, he doesn't have all the answers, and what he wants more than anything else is for people to tell him what's going on. He has so many people expecting him to be something special, but he himself doesn't think he is special and has to deal with all these expectations he doesn't think himself capable of fulfilling. He is afraid that he might let them all down. The best leaders are those who think themselves unsuited for the job, and that is Neo.

He needed time before he could come to accept the part he was meant to play. There needed to be no epiphany. It was a gradual learning process that had carried on throughout the film as Neo grew to better understand himself and his place in the greater story, and only in the end did he come to finally believe in himself and be the hero that everyone saw him as.

Meanwhile, his expressions are marked with an almost perpetual undercurrent of stress. Neo takes everything too seriously and really needs to lighten up.


(Keanu Reeves:) Neo is trying to figure out his life. He feels something is wrong. He doesn't trust what's around him, so he removes himself from the world and is seeking his answers monastically. The question is: What is the Matrix? My character feels that the answer to this question will somehow make sense of his life. He's always asking questions, always searching for truth. He's searching for his life. He's the medium, and I think that it poses good questions about our lives. What are your choices? Do you want to stay in the rabbit hole? Do you want to get out? 'What truth?' is a good question and trying to understand one's life and the choices that you make, and you can go to sleep, and then wake up. I mean, I think that he goes to sleep, and wakes up in the film, I think, like seven times.

I love the character mostly because he's a seeking, questioning guy. In the first movie, he jumps right in and takes the red pill because he wants to see how deep the rabbit hole goes. It's a quality I admire. And for that, I find him noble. He doesn't want an external philosophy. He rejects fate; he does not want someone else's destiny. Neo wants his own life and his own thoughts, and he wants to see the truth for himself. In the end, my character is looking for peace.

I think Neo rejects the idea of destiny. He believes that he's investigating his life. And he makes personal choices, privileging love. I like that he's a man who, in the Matrix, has this superhuman ability but also has this incredible responsibility. And in "Reloaded" you'll see that he also has empathy for the machine entities.

I really find that Neo is a beautiful man. His ethics and his morals and his search for his authentic life and how he deals with people and he deals with himself, I really admire. I really love his love for Trinity. He's a strong, positive, moral man he's doing the best he can, so in terms of playing him, he's a better man than me, but I try!

[Neo is] a lightning rod, a searcher and a witness. In acting out his quest, Neo makes himself available as a conduit for a very powerful energy force, which translates into these extraordinary powers.

What [Neo] can do in the Matrix is not enough. He's still on the path of discovery and choice. He's told by the Oracle that he hasn't got a destiny. It's the choices that he'll have to make that will affect the survival of the human race. He wanted to find out where and who he was. Now he knows. Or he thinks he does. That's one of the questions. Neo discovers that he's really some sort of mathematical and metaphysical probability. Beyond that, I don't think that's addressed in the story. But his role is pretty clear - to bring down the machines and save the human race. And he has to make hard choices along the way. He isn't a case of one-dimensional heroism, because his fears make him human. Neo has a bit of a sense of humor now, which I like a lot.

Neo just wants to hang out with Trinity, make love, and have babies. Live a life, you know? I always said that to the Wachowski brothers. Because he set aside his life, and the act of that is part of the hero journey: the discovery of self, and sacrifice for the restitution of community. It's sort of the classical hero definition.

It's the journey of self, I guess. You start with this kind of loner, outside guy, which a lot of people can relate to, and he goes out into the world. He falls in love, he has self-doubt, he's questioning the truth, reality. He's got great bravery about him, I think. He's his own person. He's not a fool. There's a strength about him, but a vulnerability about him at the same time. I like him. I really enjoyed playing him. He's a very honorable guy.

If Neo would be in a room with me, then we would probably be the most different people you could imagine. Neo surely is a lot smarter than I am. And he has a mission, he wants to change the world. He is more decided than I am. And I think he's more curious. He has to see his quest to the end, where it leads to, whatever it takes. That's why I love Neo. He wants peace and he's willing to do anything for it.

In the beginning of Reloaded, Neo is full of fear about what he has to do and the responsibilities that the community is asking for. But I don't think that he's a reluctant hero. He has accepted it, but I don't think he has accepted it without question. Neo is trying to find out, 'What is my life?' He's not just taking it as, 'Oh, OK, I'm going to have to make this choice.' He says, 'What if I fail?'

Those questions you have are also strongly Neo's questions such as: Do you believe in fate? Why not? I'm not in control of my own life. That whole thing of asking those questions I think is Neo's journey and it was fun to ask them. I have a feeling about what Neo wants and the brothers had a feeling, so in the second one in an odd way I think they kind of invert what happened. In the first one, Thomas Anderson became Neo; his digital self became his real self and his fear of flying became him flying and there's a certain aspect in Reloaded where the hero gets inverted and we're back to Neo as Thomas Anderson. We see his fears, his personal kind of hopes and his vulnerabilities

I think Neo likes it a lot - being able to fly. It takes his mind off things.

Tom Ludlow

Wielder of the Phonebook; Bringer of the Spade
Street Kings (2008)

Occupation:Police detective
Distinguishing Feature:"****! ****! ************!"
What He Taught Us:Never underestimate the persuasive properties of a phonebook.

(Keanu Reeves:) He's got a lot of things. He's got grief. He's got a question of why. He has the pressures of his job. I think he's in conflict with what he's good at in his work and he doesn't know how to be good at that in life.

I think he knows that about himself but he's in a dilemma and the consequences of the job he's deciding to do to be the point of the spear has some living consequences on him because he's all soft and vulnerable on the inside but he's got to be something else on the outside.

I wanted him to look like a guy who drinks but who obviously trains for his job. I wanted him to be this mixture of broken but ready, to look like a guy who you wouldn't want to mess with in a weird way. He's got some miles on him, but he also looks capable. He's the first guy in the door, he's described as the tip of the spear, so you know, he's living in a world of violence and yet to me, he's got a vulnerability to him. You know, he's kinda hard on the outside but a pretty sensitive guy on the inside, so I liked him and that interplay, you know?

He was certainly more complicated than a straight hero. He's a character of contradictions. He's a very ethical guy, he's described as being a good cop, but he does do unethical - maybe unethical - things. The fantastic Naomie Harris says of my character - she's the widow of my ex-partner and I'm trying to find the killers of my ex-partner - and she's like: 'When are your eyes going to open?' so for me, I think Ludlow at the end of the film kinda just has an awareness of where he is in his life.

He's been used as a pawn, his own personal agendas have been co-opted by other people's agendas. And I think, not only as a cop movie and a cop story, I think that idea can be translated to another situation. You think you know what you're doing, you think you're in control, and you're not. He's very awkward and then when he's looking at the videotape and going on the hunt, he's just so alive, so to get to that place, was definitely getting in touch with your inner Ludlow.

I think that I wanted to have him, hopefully, have some things that we could recognize, not necessarily in ourselves, but in the world. It wasn't specific like that, like, 'What can we do to make him more likable?' But hopefully he's sympathetic, or maybe there's something in his vulnerability that makes him kind of understandable in some sense.

There's a scene that we're all in where we're at Forest's house for a kind of get-together, and Tom Ludlow looks like he doesn't know how to talk to people. He doesn't know how to be. These guys all have a connection and an ease about them. But then when you look at Ludlow when he's in his job fighting, killing and punching, he's most alive and comfortable.

It's not fun. Part of the film is like, when is violence necessary and when isn't it? Like Naomie Harris's character says: 'Blood doesn't wash away blood' and Tom Ludlow says: 'I don't care'.

[But] when she ends up in a situation of peril and she sees Tom Ludlow coming onto the scene she almost gets a smile on her face because she knows she's gonna be OK. He'll fucking take care of business... So you need it but Ludlow sometimes crosses the line. Because what is he doing? Is he meting out justice to serve and protect, or is he a murderer? Is he a killer?

He's a good guy. You just don't want to get on his wrong side.

Tommy Wernicke

The First of the Toms
Dream to Believe (1986)

Distinguishing Feature:Really Cool Sunglasses. Only they're not his and he usually doesn't wear them.
What He Taught Us:Teachers do not like it when you strip in class.

(Anakin McFly:) Eccentric teenager with an impulsive streak, a bit of a prankster.

Winston Connelly

Worst Sense of Direction Ever
The Night Before (1988)

Distinguishing Feature:Uh... answers to the name of Winston Connelly.
What He Taught Us:Most murders are committed by murderers who knew the victim, so if you're surrounded by people you don't know, you're probably safe.

(Keanu Reeves:) Hungover dweeb.

Alex - Jonathan | John C. - Martin | Matt - Winston