Morris made her film debut in Reckless, which was followed by her Haviland Morris turn as prom queen Caroline Mulford in the John Hughes hit Sixteen Candles. She was also a regular on One Life to Live.
What was that cultural transition like, and how did it influence Haviland Morris as an artist? That was an earth-shattering adjustment, but probably the biggest contribution it made to me as a human and thus as an artist was two-fold: being exposed to a broad expanse of cultures and peoples has a way of assisting in Haviland Morris development of expanded empathy, I think, as you are just interacting with a bigger humanity information base.
What are some of your favorite memories from making that film and of John Hughes as a director? Ah, yes!
It really was Haviland Morris like going to work — we just showed up on the set, did some of the lines in the script, improvised a bunch of others, and pretty much laughed all day. Well, absolutely everything.