One of only a handful of women who not only worked as directors during the 1980s but also enjoyed great success doing so, Amy Heckerling proved to be one of the smartest and most observant chroniclers...
Bronx, New York, USA
|Mardik: From Baghdad to Hollywood||2006||Actor||n/a||20067|
|Lifetime Women's Film Festival||1997 1996 - 1997||Actor||n/a||19977|
|Film School||2004 2003 - 2004||Actor||Interviewee||20047|
|Into the Night||1985||Actor||Waitress||19857|
|Guys Choice 2011||2010 2009 - 2010||Actor||Honoree||20107|
|American Cinema||1994 1993 - 1994||Actor||n/a||19947|
|The Office||2012 2003 - 2012||Director||n/a||4|
|National Lampoon's European Vacation||1985||Director||n/a||4|
|I Could Never Be Your Woman||2007||Director||n/a||4|
|Fast Times||1985 1984 - 1985||Director||(Premiere)||4|
|Gossip Girl||2012 2006 - 2012||Director||n/a||4|
|The Carrie Diaries||2013 2011 - 2013||Director||n/a||4|
|Look Who's Talking||1989||Director||n/a||4|
|Getting It Over With||2013||Director||n/a||4|
|Look Who's Talking Too||1990||Director||n/a||4|
|Fast Times At Ridgemont High||1982||Director||n/a||4|
|Clueless||1998 1995 - 1998||Director||n/a||4|
|Tough Cookies||1985 1984 - 1985||Supervising Producer||n/a||1|
|A Night At the Roxbury||1998||Producer||n/a||3|
|Life on the Flipside||1987 1986 - 1987||Producer||n/a||3|
|Look Who's Talking Now||1993||Co-Producer||n/a||1|
|I Could Never Be Your Woman||2007||Screenplay||n/a||1|
|Look Who's Talking||1989||Screenplay||n/a||1|
|Look Who's Talking Too||1990||Screenplay||n/a||1|
|Fast Times||1985 1984 - 1985||Writer||n/a||1|
|Look Who's Talking Too||1990||Characters as Source Material||n/a||1|
|Look Who's Talking Now||1993||Characters as Source Material||n/a||1|
|Baby Talk||1991 1989 - 1991||Characters as Source Material||n/a||1|
|Fast Times||1985 1984 - 1985||Story By||from film("Fast Times at Ridgemont High")||1|
|Fast Times||1985 1984 - 1985||From Story||n/a||1|
|Directed an episode for the American version of the workplace comedy "The Office" (NBC)|
|Helmed the New York City college-set comedy "Loser"|
|Feature directorial debut, the teen classic "Fast Times at Ridgemont High"|
|Feature writing debut, "Look Who's Talking", a sleeper hit comedy; also directed|
|Directed the award-winning short "High Finance", starring Joel Silver|
|Received a creator's credit on "Baby Talk", a short-lived ABC sitcom loosely derived from "Look Who's Talking"|
|Debuted as a television writer with "Death Benefits", an episode of the CBS comedy anthology series "George Burns Comedy Week"|
|Was screenwriter and director of "Clueless", the popular and critically acclaimed Beverly Hills-set modern reworking of Jane Austen's "Emma"|
|Was executive producer of the sentimental and unsuccessful Elisabeth Shue vehicle "Molly"|
|Served as supervising producer of "Tough Cookies" (also wrote an episode), a short-lived CBS cop sitcom|
|Helmed the successful follow-up "Look Who's Talking Too"|
|Found work doing video and sound editing|
|Had a cameo acting role in John Landis's "Into the Night"|
|Was creator and executive producer of the TV series adaptation "Clueless" (ABC 1996-1997; UPN 1997-1999); also directed and scripted some episodes|
|Directed Michelle Pfeiffer and Paul Rudd in the romantic comedy "I Could Never Be Your Woman," also wrote screenplay|
|Produced "A Night at the Roxbury", a comedy feature based on the club-hopping Bubati brothers from "Saturday Night Live"|
|Served as supervising producer of "Fast Times", the CBS version of the feature; also directed the pilot|
|Directed the Michael Keaton gangster comedy "Johnny Dangerously"|
|Attended the American Film Institute as a directing fellow; directed the 1977 short "Getting It Over With"|
|Moved to L.A.|
|Born and raised in NYC|
|Helmed the troubled but commercially successful "National Lampoon's European Vacation"|
|Produced "Life on the Flipside", an unsold sitcom pilot|
|Feature producing debut as co-producer of "Look Who's Talking Now", the second sequel to the original; also scripted and directed|
Born May 7, 1954 in The Bronx, NY, Amy Heckerling's father was a certified public accountant, while her mother worked in bookkeeping. They moved to Queens, where she gave herself an informal education in classic Hollywood comedies on television. After graduating from the High School of Art and Design in 1970, she studied under controversial author and screenwriter Terry Southern at New York University's Tisch School of the Arts before earning her master's degree in film from the American Film Institute's AFI Conservatory. Despite her impressive pedigree, Heckerling found it difficult to land a directing job in Hollywood. She bided her time with short films - most notably "Getting it Over With" (1978), a comedy about an 18-year-old girl (Glynnis O'Connor) who decides to lose her virginity before the end of her teen years. The short demonstrated her understanding of the complexities of teenage life, and made her an ideal candidate for her first feature.
Based on screenwriter Cameron Crowe's book about high school social rituals, "Fast Times at Ridgemont High" was a substantial hit both with audiences and critics, who found its hilarious and honest look at teenagers a refreshing alternative to stale Hollywood fare. The film was also notable for introducing an extraordinary cast of up-and-coming talent, including Jennifer Jason Leigh, Phoebe Cates, Forest Whitaker, Eric Stoltz, Nicolas Cage, Anthony Edwards, Judge Reinhold, and Sean Penn as the film's breakout character, the hazy-minded, surf-loving stoner, Jeff Spicoli. The success of "Fast Times" generated immediate attention for Heckerling, who soon found herself at the helm of two high-profile studio comedies. However, the gangster spoof "Johnny Dangerously" (1984) was a dismal flop, while "European Vacation" scored only at the box office. In 1986, she served as producer, writer and occasional director on "Fast Times" (CBS, 1986), a watered-down TV take on her feature debut. Savaged by critics and ignored by viewers for sanitizing the characters, it lasted for only seven episodes.
Heckerling stepped away from filmmaking to have a daughter, future actress and singer Mollie Israel, with her husband, writer Neal Israel ("Bachelor Party," 1984), whom she divorced in 1984. The experience provided her with the inspiration for her next feature, "Look Who's Talking" (1989), a romantic comedy with John Travolta as a cab driver who falls for a single mother (Kirstie Alley) and her son, whose sardonic observations were voiced by Bruce Willis. A colossal hit, surpassing even the highly anticipated "Back to the Future II" (1989) at the box office, it naturally led to a sequel, "Look Who's Talking Too" (1990), which Heckerling also directed and co-wrote with Israel. However, she was shrewd enough to serve only as executive producer for "Look Who's Talking Now" (1993), which replaced Willis with Danny DeVito and Diane Keaton as the family's talking dog, and "Baby Talk" (ABC, 1991-92), a sitcom starring George Clooney in the Travolta role and Tony Danza as the talking baby.
In 1995, Heckerling came back in major way by writing and directing "Clueless," a wry take on Jane Austen's Emma, as viewed through the filter of the young and wealthy in Beverly Hills. The film, which featured a star-making turn by Alicia Silverstone as a seemingly superficial high schooler who attempts to "make over" a less socially adept classmate (Brittany Murphy), received glowing reviews from critics and, more importantly, teenage girls, who felt that Heckerling's script accurately reflected their feeling. She earned Best Screenplay Award from the National Association of Film Critics and Women in Film, as well as a Writers Guild of America nomination, and set to work on the pilot for a "Clueless" series (ABC/UPN, 1996-99), to which she later contributed as occasional director.
Sadly, "Clueless" would serve as Heckerling's last substantive hit to date. She served as producer and uncredited director of the reviled "Night at the Roxbury" (1998), a feature-length version of a "Saturday Night Live" (NBC, 1975- ) sketch with Will Ferrell and Chris Kattan as hapless clubgoers, and "Molly" (1990), a treacle-heavy romance about an autistic woman (Elisabeth Shue) who became a genius after experimental surgery. Her 2000 return to direction, "Loser" (2000), was a wan college-age comedy about two misfits (Jason Biggs and Mena Suvari) who found each other, and by 2005, she was largely absent behind the camera save for an episode of "The Office" (NBC, 2005- ).
In 2007, she returned to directing for "I Could Never Be Your Woman" (2007), a smart comedy-drama about a single mother (Michelle Pfeiffer) struggling to raise her daughter (Saoirse Ronan) in a culture with distorted views of women while juggling her job and a romance with a much younger man (Paul Rudd). Shot in England for tax purposes, the film was produced by Phillipe Martinez of the indie production house Bauer Martinez. Despite rave advance reviews, Martinez failed to secure a deal for theatrical distribution through MGM after the studio learned that Pfeiffer had deferred part of her salary in exchange for a percentage of the gross. "Woman" was eventually released on DVD, to the chagrin of Hecklering and everyone else involved. In 2011, she was announced as writer-director of "Vamps" (2012), a romantic comedy about a pair of socialite vampires (Silverstone and Krysten Ritter) who fall in love with human men while avoiding overly ambitious vampire hunters.
By Paul Gaita
|Neal Israel||Husband||second husband; divorced in 1991|
|Mollie Israel||Daughter||born on September 3, 1985; father, Neal Israel|
|Chris Kattan||Companion||Met 1997 during filming of "A Night at the Roxbury," which Heckerling produced; No longer together|
|Bronson Pinchot||Companion||together from 1993-1997; split up shortly after getting engaged in 1997|
|Center For Advanced Film Studies, American Film Institute|
|Institute of Film and TV, New York University|
|High School of Art and Design|
|Amy Heckerling on her inspiration for "Look Who's Talking": I used to look at my daughter in her baby seat and wonder what she was thinking about. I assumed she thought the same way I did. You know, sort of cynical thoughts; not cute, adorable baby thoughts. But her perspective would be without any reference points because she was figuring out everything for the first time.
"Most adults run around intellectualizing and trying to figure out things based on experiences they've had. A baby just has to deal with pure feelings. That's who Mikey is, and he seems to have the adults all figured out." --quoted in the "Look Who's Talking" press notes.
|Heckerling on being a woman in the overwhelmingly male dominated field of film directing: "I supposet there's that aspect where people think you have to be tough to make it in a man's world and blah, blah, blah. I live in my own little world, so I don't know what goes on. I have people around me that are tough. If I spent my energy in that place, I wouldn't be able to follow teenagers around and write down dialogue." --quoted in Rolling Stone, September 7, 1995.|
|Amy Heckerling on the alternative lexicon used by the teens in "Fast Times at Ridgemont High" and, more influentially, "Clueless": "People are tired of the same old adjectives, so they make up new ones. They're tired of the old rhythms of speaking, and create a shorthand only they know." --to Detour, November 1996.|
|"People always seem to throw that word, pioneer, at me. Well, when you say that word, I just always think of covered wagons and bonnets." --quoted in The Hollywood Reporter Women in Film Crystal Awards Special Issue, June 11, 1999.|
|"Inside, I'm a teenage boy. I've stayed at an emotional level that keeps me interested in things more mature people don't care about." --quoted in Fade In, Summer 2000.|
|"I have always tried to create a cigarette-free universe in my films. I know it's not realistic, but if the cute, young movie stars are not smoking, maybe it will send a subliminal message. If an actor states that their particular character would smoke, one can argue that their character also goes to the bathroom, but there are some things we're just not going to see. The script is what happens to them between cigarettes." --Heckerling quoted in Los Angeles Times, May 7, 2000.|
|Amy Heckerling answering her own question, "Is the whole teen movie thing coming to an end?": "Probably -- only because we're running out of classics to redo. When we get to 'Beowulf' and 'Canterbury Tales' set in high school, you'll know it's over." --quoted in Los Angeles Times, May 7, 2000.|
|Heckerling described working on "National Lampoon's European Vacation" as "a total nightmare" in Fade In (Summer 2000), She went on to explain what she learned from the experience: "It prompted me to make a list of things I'd never do again: 1) Never work with an asshole, 2) never work with material I wasn't happy and secure with, and 3) never work with a crew that has total disdain for Hollywood. After that, I didn't want to be a director for hire and work on other people's scripts. I just wanted to stay home, write, and be with my kid."|
|In an article in The Sacramento Bee, journalist Joe Baltake pointed out the many similarities between Heckerling's "Loser" and Billy Wilder's "The Apartment". Spokespeople for Heckerling dismissed the article claiming that the writer-director did not base her film on the 1960 Oscar-winning Best Picture.|
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