Sometimes the experience of watching the Brats can be similar to watching a high school reunion, except that those who were in question hung out on the Sunset Strip in the 1980s and the theater instructor used to be John Hughes.

In the documentary the director Andrew McCarthy asks members of the Brat Pack to ponder and decode what it was like being a member of one of Hollywood’s most exclusive clubs as was that of the fronted by Frank Sinatra Rat Pack before them. There are times of shame or humility, and catharsis with apology recited and fresh perspectives obtained.

“The “Brat Pack” was coined by journalist David Blum in a 1985 New York Magazine article about Emilio Estevez that contextualized Estevez and other peers like Judd Nelson and Rob Lowe in the context of an Hollywood which sought to meet the demands of the younger audience. It was a not-wholly-flattering portrait that at times painted the actors as undertrained and overestimated, scoring free movie tickets that they could likely afford and picking up girls in the Hard Rock Cafe.

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When they read the article today viewers might be shocked by how much the label has changed and expanded beyond its original classification. The term Molly Ringwald, the canonical Queen Bee of ’80s coming-of age films such as The Breakfast Club and Sixteen Candles does not make an appearance in the narrative. “It was always more of a concept than something that was fixed. The culture made the decision about who was part of it,” explains McCarthy.

The Brat Pack is believed to be performers that are, along with McCarthy also appear in The St. Elmo’s Fire or in the greater Hughes work. In the document the director speaks to other Brat Pack members Estevez, Demi Moore, Ally Sheedy and Lowe. They discuss how the name was a reason for being snubbed by a snobby Hollywood and a lack of projects and roles. They also explore how years of separation and full-time careers have given an appreciation for the Brat Pack and a new perspective like the fact that being part of the Brat Pack could be as McCarthy states, “perhaps the biggest professional blessing of my life.”

In advance of Brats debut this coming June 13th in the U.S., on Hulu, McCarthy talked about getting his former co-stars to be part of the show, and a tense chat on Charlie Rose and why a famous cult phenomenon like the Brat Pack will never be repeated.

Why do we need to make Brats right now?

It was a novel I was writing entitled Brat to reflect on the same time period, and about my experiences with Brat and the Brat Pack and the emotions I felt in the moment as well as to explore the surface of that rock that I’ve been running from for quite a while. It was very illuminating. When I was done I thought, “That’s what Ifeel like. What else do people think?” Someone said to me, “We were members of an organization, but we didn’t apply to join and were one of the few members. We’re the only ones who can recall what it was like.” What’s the reason you’re reading this: Sure, the film tells the story of what’s happening in the Brat Pack. But for me it’s about the way we perceive and interpret the meaning of the events in our lives, and how our view of them evolves and changes in time. I’m 180 degrees more ambivalent regarding the Brat Pack than I did 30 years ago. I hated it at the time. Now, I view it as a possible professional blessing of my existence.

Your personal experience and relationship of the concept “Brat Pack” is the foundation of Brats. When you began work on the document did you know this was the situation?

The film I was making wasn’t an absolute Brat Pack film I was creating an extremely subjective film about my personal experience and the major event in my life. I hope to be able to clarify the significance of that. The evolution of my connection to this particular term, which is what this movie to me. The way we viewed it the fairness or lack thereof, whether we thought it or not, whether we viewed it with respect or in selfish ways like youngsters It doesn’t is important. The most important thing is that I actually experienced it in that manner and it’s been observed in a different manner. It was fascinating for me. While I was talking to people at the time, one of them I’m not sure I don’t remember, asked, “Do you have questions for me that I can look at before you come?” I said: “No. I’m just going to meet with you.” Talking about David Blum when I called his number and asked whether he would do it and he replied, “What’s your agenda?” My only goal is to know how you felt about the time, and what you think of it today and what has changed. This was my goal for him as well as for all of us. I reached 60 years old last year which means that you start considering the clock differently, especially as you age.

The Book Brat that you read, in which you looked at similar themes and topics in the document, seemed to be more of a solitary experience, whereas the writing the Brats was more of a conversation with others.

It’s an interesting idea as we can go through these things and start to learn and understand these things on our own. However, it’s wonderful to be able to communicate with others. It makes you realize why we shouldn’t live in isolation and the reason we require the community because it makes us feel less lonely. It’s an overall more enjoyable feeling than being stuck in our heads. I can think it through on my own and think, “OK, that makes sense to me. Okay, I’m fine with this.” When you share this with people around you and they share the same information with you, a bonds form. This is why films are so effective. As I told Howie this generation, they saw us on screen and then they thought, “That’s me. I’m less lonely now.” This is why we were famous and why people continue to admire us because we are the moment in their lives where they’re still in the process of blooming. This is a frightening beautiful and lonely moment. When you see yourself looking at the screen and say, “That’s what I feel like,” you’ll forever be myself or Molly or whatever else is sitting there. Reconnecting with the entire world to me was an important thing in that sense rather than just sitting in a room by myself.

What was the point at which you realize you’d like to meet the journalist David Blum?

I’ve always believed that I’ll speak to him since He’s the pink elephant that’s within the space. The fifth Beatle. I’ve always wanted to speak to him. His whole approach included: “What’s your agenda?” My plan was to hear about your experience. Then, he was ready to get right into the action. In truth, he was] much easier to plan than everyone else was.

There’s that moment in the film in which you’ve had your interview cancelled at the last minute. you’re driving and you can remember how your wife told you creating the documentary could be an humbling experience. At that point, you acknowledged that you knew the meaning of her words.

I was thinking, “Oh my God, Rob has cancelled yet another time with the entire crew in the theater. We should and talk to someone since the crew I hired paid.” The whole film was exactly like this! It took about a year. It was probably just 10 or so days to film however it took an entire year to convince everyone to settle down. On occasion, people would leave and I’d be like, “Who can I call? [St. Elmo’s Fire producer[St. Elmo’s Fire producer] Lauren Shuler would love to discuss the matter!” It was all simply me calling people I knew and asking, “Will you talk to me about this?”

When did you last read this New York Magazine article?

I don’t recall what I read the first time. I don’t believe I read it in the context of the book, but more for the movie I saw. When I went back to it I came across it to be quite good. It’s not as if we were treated as Britney Spears, do you know what I’m talking about? The reality was different. It’s kind of snarky the way of the 80s. It was evident to me, an attempt to impress to gain access to what he described as Tina Brown’s workplace. It was his plan. His intention wasn’t to represent us in a concise, intelligent manner. His intention was to make it into Tina Brown’s office, and this was how he thought would accomplish this and that’s acceptable. I don’t recall what I read when I read it again however I don’t believe it was as harsh as I initially thought it was.

There is no mention of Brat Pack members Molly Ringwald and Judd Nelson in the document and give their reasons for not taking part in the doc. Why did it consider that you needed to include?

They appear in the film and in the smart and sensitive manner that I have come to know that they will be. I was thinking that it had to be handled in a quick and courteous way as it is possible. Otherwise, you’d be saying, “Where’s Molly?” And Judd was Judd. At first Juddd accepted the idea and was incredibly clever. While on camera, I’m talking on his phone] Judd”Judd “Don’t say anything now. Don’t be telling me. But I’m ready to appear onto film!” He just launched into. Then he became the unicorn and vanished and then decided he didn’t want to go through with it. However, I believe that even this is a good read and provides an insight on Brat Pack. Brat Pack.

Was one of your conversations most instructive in your comprehension about the Brat Pack?

What was most interesting to me was the process by which it came about and why it took place at the time. The conditions that led to the Brat Pack to occur were in place. It was a massive, shift in culture that made movies were suddenly about kids. Hollywood discovered that children go to the cinema half a dozen times, adults go once, but what’s the problem with the grown-ups. Let’s make films for kids. It happened in a matter of minutes and we were who were the first to notice the curve. Youth culture was extremely unified and our culture was fairly united in that moment. On Friday nights, everyone was aware of the movie they were scheduled to watch. Every kid would watch Karate Kid this week, and Teen Wolf the next week. Today, the culture is broken. It’s hard to comprehend. After that, David Blum comes along next with really funny calls and Hollywood will catch us and put us in a bag. We were only the people who matched the outfits at the moment. We were in the right spot and at the right moment to allow this to occur. According to me, this could never occur again. People often ask me, “Can you imagine now with social media, what it would be like?” It would never be happening. It would not even have been taken place, barring one or two days in media cycles.

The archived talk show interviews as well as the TV segments sprinkled around Brats were really enjoyable to see. What was it like to go back and watch these?

When we first discovered this Charlie Rose [interview] that is the beginning and ending of the film I thought, “Oh, no, do not show it to me! I’m not going to look at the film!” It’s like, “This child is so uneasy and scared.” This was my first experience in an interview experienced where I was asked to look at an image on the screen and I thought, “I’m talking to a dot? It’s on the other side?” That’s why I was scared to look upwards, since I felt so self-conscious staring at the dot. It was a naive and innocent moment. When we were doing archive work I could tell I wanted an event where multiple journalists were chanting, “The Brat Pack! The Brat Pack. It was the Brat Pack.” And I stated that it’s going to only take place between June and August of 1985, because after that the publicists wouldn’t allow a show that we did later to feature the word “Brat Pack.” Our archives experts, who are excellent they said, “I can’t find anybody who has said that.” I then told the researchers “That’s since you must consider this six-week period before the publicists have shut the site down.” These kinds of things all came to me. We’re also so innocent and innocent and uninformed, in certain ways which was wonderful. The experience made me feel very compassionate towards all people.

There wasn’t as much training in media as it is today.

No. It was “You go on and look at this dot.”

However, that means there wasn’t a single instance of performance or appearance in the interviews.

We were all experiencing it, and growing up as well as growing older and understanding it in real-time. This is the reason why a number of times, we used [the footage] prior to when the interview began, when we’re just sitting like deer caught in the headlights. It’s a frequent scene on the screen: Us just sitting there in a state of confusion, unsure of how to proceed, and that’s the way it felt in the moment.

I doubt that we’ll ever get to see any moments like this again, also.

No. There’s too much security and the public is too well-informed. When I auditioned for my audition tapes to my debut film, Class, I had never before seen myself on tape moving. I’d never witnessed myself moving in space prior to. We’re all so advanced and conscious and self-aware in a way we simply weren’t. However when we were younger we thought that we were on the top of our game.

What are you think people learn by reading Brats?

I think that in the same way that they could see themselves in us in those films and whether they do it intentionally or not I’d like to think they can take their own journey in life through this friendship with The Brat Pack. For instance: “I felt this way about certain seismic events in my life and over time and with different understandings, I have come to feel a different way about it.” The experiences we go through in the manner that we perceive the world around us and how we experience them can bring positive outcomes.