A Quote by Aimee Mullins

If you watch any John Hughes film of the eighties, that was my childhood experience. — © Aimee Mullins
If you watch any John Hughes film of the eighties, that was my childhood experience.
I think when romantic comedies are done well, it's a great genre. 'When Harry Met Sally' is kind of a benchmark for me, but I'm very happy to admit that I love 'Pretty Woman.' I do! It's a great film, and so is 'Sixteen Candles.' I was a big John Hughes fan - still am. I have moments where I have to watch a Hughes film.
The influence of John Hughes is fully felt in the melodrama 'Donnie Darko.' This first film written and directed by Richard Kelly is a wobbly cannonball of a movie that tries to go Mr. Hughes one better; it's like a Hughes version of a novel by Gabriel Garcia Marquez.
I think they’re having trouble adjusting to the emotions they have outside of their dreams. At any rate, they keep acting like demented teenagers from a porno version of a John Hughes film. (Asmodeus)
I think saying 'a John Hughes movie' is just shorthand for a lot of people to say 'a coming-of-age story,' because I think, when you're of a certain age, that's what John Hughes means to you.
First off, I love Woody Allen. His early movies, like 'Hannah and Her Sisters,' are incredible. I also love anything by Billy Wilder, Ron Howard and John Hughes. I really grew up on the Hughes films, which are the ones I go back and watch all the time, just to see how they were put together.
I was just after Generation X. I missed the John Hughes movies; I had to watch them on TBS.
I wanted to make a movie that was kind of a tribute to the way I feel when I watch a John Hughes movie.
The first writer I developed a script with was John Hughes, and that was 'Mr. Mom.' That was my first feature film.
All of my most significant moments somehow involved music. It's like my life was a John Hughes film and somebody had to put together the perfect soundtrack.
It's funny, like 15 years ago when I was a kid doing all the John Hughes movies, I remember Bruce Willis was the only guy who was transitioning from television into film.
Part of me is stuck in my childhood in the Eighties. I actually watch 'The Neverending Story,' 'Labyrinth,' and 'Legend' over and over again. Also, 'Willow' and 'The Goonies.'
There were a few things that, in rehearsal, any one of us might try. [John] Hughes would go, "I like that," to me spitting up in the air and catching it in my mouth. It was just something I did in a rehearsal and Molly [ Ringwald] went, "Ewww." And John went, "Can you do that again?" And I went all day long, and he was like, "Okay, let's do that."
The more film I watch, the more John Ford looks like a giant. His politics aren't so good, and you have to learn to accept John Wayne as an actor, but he's a poet in black and white.
Ted Hughes is dead. That's a fact, OK. Then there's something called the poetry of Ted Hughes. The poetry of Ted Hughes is more real, very soon, than the myth that Ted Hughes existed - because that can't be proven.
On stage you never watch yourself. You just experience it, and then you go home, and you feel pretty good if you gave a pretty good performance or crappy if you didn't. But in TV and film, you actually have to experience it while you're doing it, and then you have to watch it. And then when you're watching it, you watch it with a different sensibility than how you experienced it.
I think I draw most inspiration from writers like Richelle Mead and filmmakers like John Hughes. They both really understand the experience of being a teenager and how insistent and intense everything feels, but they're also smart, savvy, and fun.
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