Top 192 Hughes Quotes & Sayings - Page 3

It seems like the studios are either making giant blockbusters, or really super-small indies. And the mid-level films I grew up on, like 'Back to the Future' and all those John Hughes movies, the studios aren't doing. It's hard to get them on their feet.

'Menace II Society' itself was a groundbreaking film. It's definitely going to go in the vaults of classics in all of cinema. The Hughes Brothers created an incredible project. Just gave the world something a little different than what we had seen in previous films in that same genre.

Howard Hughes innovation was in the aviation field. His designs and spirit of experimentation was at the forefront. As far as his work as film producer, he certainly went after a bigger and more ambitious kind of filmmaking, even if he wasn't necessarily a cinema artist.

At boarding school you had to wear your name across your chest and your back, and obviously I had a pretty funny name. It wasn't Brown or Smith or Hughes.

Howard Hughes himself was a regular at the restaurant, and in a way it became his headquarters, too. Howard had recently relocated to Las Vegas, so when he wanted to do business in Los Angeles, he went into the back of our restaurant to use the telephone.

My story is really an affirmation of my strength and my luck. To live with a great artist like Ted Hughes or Mick Jagger is a very, very destructive role for a woman trying to be herself. In fact, it can't be done.

When I was about 14, in about 1984, I decided to become a great poet. Faber & Faber was going to publish me, and when Ted Hughes read my first anthology he would invite me to Yorkshire for meat pies and mentorship.

As pop songs, the early stuff like Electricity' and Enola Gay' were such inspirations to Gwen and I, especially melodically. They inspired us to try and do our own John Hughes prom-scene movie moment kind of songs.

You get the sense that [John] Hughes is so right about the way groups divide and then divide again and then sometimes align and then sometimes break apart. And this idea that Michael Hall's character says, "On Monday, are we going to be friends?" you know, based on this.

I've been connected to the most culturally important albums of the past four years, the most influential artists of the past ten years. You have like, Steve Jobs, Walt Disney, Henry Ford, Howard Hughes, Nicolas Ghesquière, Anna Wintour, David Stern.

Though narrative cohesion isn't the strength of 'Mean Girls,' which works better from scene to scene than as a whole, the intelligence shines in its understanding of contradictions, keeping a comic distance from the emotional investment of teenagers that defined 'Ridgemont High' and later the adolescent angst movies of John Hughes.

They held up 'The Outlaw' for five years. And Howard Hughes had me doing publicity for it every day, five days a week for five years.

Music and the blues, they have taught me a lot. I think in this book, 'Book Of Hours,' there is this blues sensibility. There are moments of humor even in the sorrow, and I'm really interested in the way that the blues have that tragic-comic view of life - what Langston Hughes called 'laughing to keep from crying.'

Let's say [Warren Beatty] wants you to speak louder in a scene. He won't stop playing the role and say to you as a director, "Will you speak louder on the next take?" He'll say it as Howard Hughes: "I can't totally hear you. Why don't you speak up a little bit?" To kind of keep this rhythm going.

'90210' was looking at teenagers from a perspective that hadn't really been seen on television, though it had been seen in movies like some John Hughes films. I don't know if you want to say '90210' was real, but what the characters were going through was relatable - in a very glamorous environment.

My family sits around and tells all these amazing stories of pirates and the wa. Then one day I'm having a beer after shooting an episode of 'Thank God You're Here,' and started telling Dave Hughes some stories, and he said, 'You've gotta turn this into a book.'

Reading Dorothy B. Hughes's novel 'In a Lonely Place' for the first time is like finding the long-lost final piece to an enormous puzzle. Within its Spanish bungalows, its eucalyptus-scented shadows, you feel as though you've discovered a delicious and dark secret, a tantalizing page-turner with sneakily subversive undercurrents.

I love all the movies by director John Hughes. I also love John Landis's movies.

I booked my first studio at like 12 or 13. Somewhere in that season of my life, singing along with the radio became me wanting to be on radio, you know. And writing Langston Hughes replica poems became me wanting to write like Stevie Wonder.

I'm expecting big things from our bowlers, from Peter Siddle, who plays the enforcer role, Stuart Clark, Mitchell Johnson and Brett Lee when he gets fit again. In batting, there's Phil Hughes, whose already done well for Australia and scored hundreds for Middlesex.

Slowly, after dozens of rejection slips and failures and false starts and postponed dreams - what Langston Hughes called dreams deferred - I stepped onto the hallowed ground of being a published novelist, and then 15 years later, I even started to make real money.

If you think about black art, all black art, whether it's Invisible Man or whether it's James Baldwin, Langston Hughes, Zora Hurston, or Richard Wright, they all deal with elements of identity and trying to humanize our experience and our struggle in the world where people have been indifferent to who we are and what we are. It's basically just saying that our lives have meaning.

[ Mrs. James, my fifth-grade teacher] introduced us to these authors early on and taught us that their literature is important. Langston Hughes - we read his poetry. We studied who W.E.B DuBois was. And so she whetted our appetites.

Around the edge of the crowd was a little 13-year-old bouncing up and down with a grin that went from ear to ear. She was so happy for her sister. It was a charming moment, and I think thats the essence of what Emily Hughes is.

In the years since I worked with John Hughes, there were many years where I literally had hundred of doors slammed in my face because I wasn't that kid anymore, and I wasn't a character actor, and I wasn't a leading man, and I wasn't whatever Hollywood was looking for.

As I walked up the imposing steps of the Royal Academy, I came fact to face with Alwen Hughes. She looked just as stunning as she had done in my first year at art school.

I'm married to Senator Vincent Hughes of Pennsylvania, so I always am speaking my mind. I remember, growing up, my parents were always involved in what was going on in the community, and their involvement helped me in so many different ways and other people within our community.

We expect kids to go straight from Shel Silverstein to William Shakespeare. There needs to be a bridge of relatable, fun, rhythmic verse that gets kids to cross over, so to speak, so they can appreciate Mary Oliver and Naomi Shihab Nye and Langston Hughes.

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.

Our expanding ethnic diversity of this century, a time when we will all be minorities, offers us an invitation to create a larger memory of who we are as Americans and to re-affirm our founding principle of equality. Let's put aside fears of the disuniting of America and warnings of the clash of civilizations. As Langston Hughes sang, Let America be America, where equality is in the air we breathe.

I just sort of feel like John Hughes movies are perfect, but they're missing violence. If they just had some violence, they'd be perfect.

There are no legends about the Duponts; the legends are about Howard Hughes.

In the middle of the next century, when the literary establishment will reflect the multicultural makeup of this country and not be dominated by assimiliationists with similar tastes, from similar backgrounds, and of similar pretensions, Langston Hughes will be to the twentieth century what Walt Whitman was to the nineteenth.

When you're coming up, and you have Matt Hughes, Tim Sylvia, Jens Pulver and Pat Miletich, Jeremy Horn to train with and compete with - guys that have fought in Japan, all over the world - and you see these guys every day, you just embrace the grind and get after it: you have no choice but to succeed.

I met Andy Warhol in the '60s, a wonderful time, with wonderful people. There was Fred Hughes, and Jed Johnson, who I liked a lot. Jed Johnson decorated my apartment in New York, at the Pierre. It was his first job.

Black Nativity certainly lends itself to reinterpretation. It was kind of designed to be infused with the creativity of whoever is putting it on, and every performance is a little bit different. So, this is definitely my version of Black Nativity. It has its own story, which is a family story. Langston Hughes' Black Nativity informs it, and is contained within it.

What naturally stops you making the film is there is no more money in the budget. That's really what it is. If you had an unlimited budget, if you were a billionaire and you financed your own movies, then you can either date, because you can sit in an editing room for six years, like Howard Hughes, and never finish anything.

History is a sly boots, and for a generation of blacks that cannot identify with the frustrations of Jim Crow, and for whites who cannot understand the hard deal that faces working-class blacks, it is difficult to reconcile Hughes's reputation as a poet-hero with his topical verse and uncomplicated prose.

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."

When I first knew that I wanted to rap I was seven years old and I lost the talent show. It was like spoken word or something. My mom made me do it. It was a Langston Hughes poem. The girl that came on after me, she wound up winning. She was a singer.

Cinema is a visual language, and you're always looking for visual metaphors for things. You know, if I was writing a play about Howard Hughes, I could have him give a monologue about how he's terrified to touch a doorknob. But on screen, you know, working with Marty Scorsese in 'The Aviator,' that became the series of images that told a story.

John Hughes made a certain type of high school movie, and then it stayed static for 30 years. The only thing that changed was that maybe it was found footage or maybe it's a little snarkier, but the actual language that kids live in today, like with texting, motion graphics, the internet and that whole hashtag culture doesn't exist in movies today. It's left on the floor.

If you want to be a proud person, then you want to avenge your loss. For me it was [Josean] Serra and [Joe] Hughes, and for Michael Bisping, Henderson is one of his losses - one of his most painful losses. So I understand why he wants to avenge it. As an athlete I understand.

I'm inspired by Walt Disney. I'm inspired by Howard Hughes. I'm inspired by Henry Ford. I'm inspired by Steve Jobs. I mean, I'm inspired by James Perse.

Mark Hughes really liked me, because he played me in a lot of games, but for some reason I just couldn't hit the form I wanted. It was nothing personal against him or the way he did things.

Dorothy B. Hughes - there's a robust elegance to her writing that I keep responding to again and again. I've read her novel 'In a Lonely Place' about eight or nine times.

Have you ever seen that guy who has the record for fattest man in the world? Bob Hughes, the fattest man in the world... 1400 pounds. Ladies and gentlemen, the man has let himself go.

When I was a kid and my dad was playing for Man United, I used to stand behind the goal watching Eric Cantona, David Beckham, Paul Scholes, Mark Hughes, Andrei Kanchelskis, Ryan Giggs... and I used to try to save all their shots that went wide, imagining I was deciding the title for United.

I was sitting in the nosebleeds eating hot dogs and watching Georges St. Pierre win the world title from Matt Hughes. Like never in my wildest dreams if someone would have tapped me on the shoulder and said, 'Hey, seven years from now you're going to be down there doing the same thing' would I have believed them.

[John] Hughes was well aware that to ignore the seriousness of young people is to encourage things like Columbine, so you might want to listen. And we were all pretty serious, a little bit, in high school. Some a little more than others.

I learned a great lesson early on, even before I was really an actor, from that movie 'Planes, Trains & Automobiles' that John Hughes made: that you could make a movie that's really, really, really, really funny, and sometimes you can still achieve... making the audience feel very deep emotions as well.

If you're going to get up to Walt Whitman and Robert Frost and Langston Hughes and Sylvia Plath you've got to figure out how you put people in possession of their heritage. To do that you have to talk about how they're being taught, and the imagination of community the people who are running our government have.

All black art is always judged to illuminate our experience and prove that our stories and our history and our lives matter. And that goes back to Ralph Ellison, James Baldwin, Langston Hughes, Zora Neale Hurston - take your pick.

I got a call from somebody who used to be the president of Little Persons of America. She got called from some producers who wanted someone of a certain size in the John Hughes film 'Baby's Day Out.' So that was my big break, as the stunt double of a nine-month-old.

I'm too young to play lawyers. But I've been really lucky because I never got labeled. I never did the John Hughes thing. I did adult movies. I'm not bragging or anything, but I think that I've chosen really good roles. I've played different people and showed that I have a little bit of range.

I sometimes feel I have met everyone he ever met, but I never met him. I am afraid to say I have always been - the word I would have to use is - amused by Howard Hughes.

I'm a huge fan of John Hughes and can say that 'Planes, Trains and Automobiles' is easily a top 3 favorite. I'm also a huge fan of all the Second City talent, and I think my Dad and Bill Murray are long lost twins.

We [ with Emilio Estevez] asked if we could take some things [ in Breakfast Club] that weren't in the shooting draft, but from earlier drafts, "Can we maybe use this?" And Hughes was very amenable to all that. And there was some stuff that I liked, and I said, "How about this?" And he went, "Well, we'll check with Molly [Ringwald]. Those scenes are with her. And if she likes it, fine." So it was just wonderful. It was great.

I do not regret the years I spent reading the traditional canon of white male writers in school. I do regret reading so little else there: Austen, George Eliot and occasionally Woolf, likewise Wright, Ellison, Hughes and Gwendolyn Brooks.

I left Google X. All the senior women have left Google X. I was the last to make it - I was, to be fair, the last there. Megan Smith left, Claire Hughes Johnson, vice presidents at Google left.