8.0/10 (1035 reviews)
Try the eBay way-getting what you want doesn't have to be a splurge. Browse Amy heckerling! Find the deal you deserve on eBay. Discover discounts from sellers across the globe.
- Collectables & Art
Huge Selection of New & Vintage
From Hornby, Bachmann, PECO & More
- Men's Sun on eBay
Free Shipping Available. Buy Men's
sun on eBay. Money Back Guarantee!
- Collectables & Art
Search results
Amy Heckerling (born May 7, 1954) is an American writer, producer, and director. Heckerling started out her career after graduating from New York University. Her career started from independent films to directing major studio films.
Amy Heckerling is a filmmaker known for Clueless, Fast Times at Ridgemont High, and Look Who's Talking. She studied Film and TV at NYU and AFI, and has one daughter with Harold Ramis.
- January 1, 1
- 1.60 m
- The Bronx, New York City, New York, USA
Learn about the life and career of Amy Heckerling, a filmmaker who wrote and directed Fast Times at Ridgemont High, Look Who's Talking, and Clueless. Find out her family, trivia, quotes, and more on IMDb.
Jul 21, 2020 · The writer-director of Clueless, a 1995 film that drew from Jane Austen's Emma, talks about its legacy and impact on future movies by and about women. She reveals the challenges and surprises of making a comedy of manners with a positive and relatable heroine.
May 13, 2016 · Amy Heckerling's 1995 classic draws on influences that range from Jane Austen to linguistics research to Liza Minnelli in "Cabaret." We talked to the iconic filmmaker about how she...
Jul 19, 2020 · When it was released in July of 1995, writer-director Amy Heckerling’s high-school comedy—which was based on Jane Austen’s 1815 novel Emma —took a classic story about a privileged, matchmaking...
People also ask
Who is Amy Heckerling?
What was Amy Heckerling's first movie?
Who is Amy Heckerling in 'Clueless'?
Did Amy Heckerling think we would still be dressing as Cher and Dionne?
Jul 17, 2020 · Now 25 years old, Amy Heckerling’s teen movie is a classic on many levels – including for how it subverts one of cinema’s most enduringly problematic tropes, writes Hanna Flint.