quote by Erik Estrada

I do get a lot of mail. I get a lot of foreign mail because my mail gets mixed with Emilio Estevez.

— Erik Estrada

Staggering Emilio quotations

Mexican cinematographers Gabriel Figueroa and Emilio Fernandez were students of both Sergei Eisenstein and Toland. Their exteriors and lighting were gorgeous. And the films Ingmar Bergman did with Sven Nykvist were exceptional.

Well, you won't unless you come to lunch with me," Cal said.

"I'm holding it for ransom. There's a gun to its heel right now." "I have lunch at my desk," Min began, and thought,Oh, for crying out loud, could I beany more pathetic ? "Emilio is experimenting with a lunch menu. He needs you. I need you.

Meaningful Emilio quotes
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I saw a headshot with the name 'Emilio Sheen' printed under it and it looked terrible.

Emilio Estevez was definitely my first love.

On December 7, 2059, Emilio Sandoz was released from the isolation ward of Salvator Mundi Hospital in the middle of the night and transported in a bread van to the Jesuit residence at Number 5 Borgo Santo Spirito, a few minutes' walk across St. Peter's Square from the Vatican.

The house in which the fourteen sisters of Emilio Montez O'brien lived, radiated femininity.

That's always my downfall - when I start not having fun or not feeling passionate about what I'm doing. But that's why I love Emilio Pucci. There are some design houses that operate on a more intellectual level, but the way Pucci has always worked is more spontaneous and instinctual.

I think a lot of people, when they think about the house, they think of the print. But when people think about Emilio Pucci, I want them to think about this really, really hot girl, so my biggest job is to give her a face and an identity - and I do that by trying to associate that kind of print that people have in their minds with a kind of girl who is free-spirited, rebellious, a little bit rock 'n' roll, and who has a lot of energy, who is up.

I want Pucci woman to be a Pucci girl.

That's number one, because I think she should have that vibe that corresponds with today. Emilio Pucci - the house is, I think, 63 years old now. It's an old house. The Pucci woman from the beginning would be 80 years old or something today, so I've kind of had to update her.

I'm really working on trying to get that lifestyle aspect of the Emilio Pucci house to be as strong as possible.

The year before was my first collection for Emilio Pucci, and I was just starting the job and working in his Renaissance Palazzo, where Pucci is headquartered, so that inspired me. I found this image in the book. It was an old image of Emilio Pucci hanging out by the seaside with all of these women, and that's exactly how I used to think about this house - more of a lifestyle thing. This beautiful life. So I'm really working on that.

Emilio Pucci obviously I think it's one of the best houses in Italy - and one of the most legendary ones as well. That's why I came here. I also like the idea of working with a house that has a history that you can collaborate and exchange ideas with in the way you would with another person.

We tried the first evening to go down Division Street and Rush Street, but we couldn't get in anywhere because they didn't like [ Emilio Estevez] sneakers and they didn't like my boots. This was 1983 or '84, so it was ridiculous. We ended up at a jazz club, where you go downstairs and there's a very cool place.

I think I was, like, 23 or something [on The Breakfast Club].

I was the oldest of the five. Emilio [Estevez] and Ally [Sheedy] were a year younger. The only real difference was that Molly [ Ringwald] and Michael [Hall] still had to go to school. They could shoot, like, a half day. So a lot of my close coverage was done with Molly's stand-in, so Molly could do her schoolwork.

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 remember Emilio [Estevez] and I were at John's house during the rehearsal process. And John [Huges] had mentioned he wrote the first draft of Breakfast Club in a weekend. And we both at the same time went, "First draft? How many do you have?" And John said he's got four other drafts. And we go, "Can we read them?" And for the next three hours, Emilio and I read those other four drafts.

My son, Emilio Huerta, is running for congress. He was a young man who was marching and picketing.

It would not have suprised Emilio Sandoz that his sex life was discussed with such candor and affectionate concern by his friends. The single craziest thing about being a priest, he'd found, was that celibacy was simultaneously the most private and most public aspect of his life.

I tell him [husband Emilio] you are lucky I am not a jealous woman, because look at the women he's worked with: Shakira, Jennifer Lopez, Thalia, Madonna. These very sexy women. I trust him.

The music is one of the beautiful things that has survived the Castro regime.

I have played for audiences all over the world but I've never played for a Cuban audience. For [husband] Emilio and me, the music is the one tie to our homeland.

It's an honor for me to have the opportunity to work with Emilio Estefan.

[on Emilio Estevez] Truly, my first love.

Sandoz turned and accepted the book, looking at the spine.

"Aeschylus?" Wordlessly, Guiuliani pointed out the passage, and Emilio studied it a while, slowly translating the Greek in his mind. Finally, he said, "In our sleep, pain which cannot forget falls drop by drop upon the heart, until, in our own despair, againstour will, comes wisdom through the awful grace of God."