Zitat des Tages über Hughes:
Howard Hughes was this visionary who was obsessed with speed and flying like a god... I loved his idea of what filmmaking was.
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.
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.
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.
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.
John Hughes loved improvisers.
Howard Hughes was able to afford the luxury of madness, like a man who not only thinks he is Napoleon but hires an army to prove it.
The Howard Hughes I knew began to change after his plane crash in 1941.
I didn't know who Langston Hughes was till he met me backstage.
Alice Oswald. With Hughes and Heaney gone, people are looking around for the best British and Irish poets. Oswald is one of our finest.
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.
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.
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.
If I had to name one book that has had the most lasting influence on my work, I would pick 'The Big Sea' by Langston Hughes.
I was just after Generation X. I missed the John Hughes movies; I had to watch them on TBS.
There are no legends about the Duponts; the legends are about Howard Hughes.
I'd see movies, comedies, and I loved 'Animal House', I loved all the John Hughes stuff, but I never saw me and my friends totally represented.
Howard Hughes was obsessed with me. But at first it seemed as if he were offering me a superb career opportunity.
I don't agree with everything he did in his life, but we're dealing with this Howard Hughes, at this point. And also ultimately the flaw in Howard Hughes, the curse so to speak.
I did know Ted Hughes and I partly wrote the book to explain to myself and others the complexities of a marriage that was for six years wonderfully productive of poetry and then ended in tragedy.
John Hughes had such a huge impact on filmmaking.
I was only in one of the John Hughes films, and I never saw the other ones. I didn't understand them. I kept hearing a really hip 40-year-old person talking in teenagers' mouths.
I was born in 1942, so I was mainly aware of Howard Hughes' name on RKO Radio Pictures.
There was a policy at Hughes against drinking at lunch, but the men ignored it.
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.
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.
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.
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.
'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.
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.
After a year or so I really thought I was Howard Hughes. Here I was at eighteen years old, getting all these checks.
I don't know specifically what scenes I'd like to see violence in - I crave violence when I'm watching a John Hughes movie.
If you watch any John Hughes film of the eighties, that was my childhood experience.
Working with Woody Allen is like filming Howard Hughes's will. It's a very mysterious and strange event. You never get a peek at the whole will.
You can talk about Michael Jackson all you want, but John Hughes was the soundtrack to my 1980s life.
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.
