Quotes About Angeles

One of the interesting things about Los Angeles is that it's still supplying the whole of the world with its dreams through movies and songs and TV - often of an all-American family at the same time as the real Los Angeles is peopled by souls from Vietnam, Guatemala, and Korea who look nothing like the images being beamed out. I think all that is going to have to change and illusion is going to have to catch up with reality in that regard.

I live in a very dangerous part of Los Angeles? it's called Los Angeles.

If Los Angeles is a woman reclining billboard model with collagen-puffed lips and silicone-inflated breasts, a woman in a magenta convertible with heart-shaped sunglasses and cotton candy hair; if Los Angeles is this woman, then the San Fernando Valley is her teenybopper sister. The teenybopper sister snaps bug stretchy pink bubbles over her tongue and checks her lipgloss in the rearview mirror, . . . Teeny plays the radio too loud and bites her nails, wondering if the glitter polish will poison her.

Since I have spent many years of my life living in Los Angeles, and since I'm also in the music business, I know that much more is talked about in Los Angeles than ever really occurs.

Once every hundred years, the Los Angeles smog rolls away for a single night, leaving the air as clean as interstellar space. That way the gods can see if Los Angeles is still there. If it is, they roll the smog back so they won't have to look at it.

There's sort of an open offer to work with a guy in Los Angeles who does big band and orchestra arrangements who was at least an acquaintance to Les Baxter before he passed away.

You don't normally think of Los Angeles as a place to go to get away.

I think I'm the only 65-year-old actress in Los Angeles who hasn't had plastic surgery, so somebody's gotta play the old-lady parts!

I had a map on my wall that had a circle around Lubbock and then giant arrows pointing toward New York City and Los Angeles. Written across both arrows were the words 'Toward Civilization.' Of course, by the time I got to New York, I realized there really isn't any civilization.

I'd been reading Daniel Defoe's Journal of the Plague Year when the [1992 Los Angeles] riots broke out and I began to see them both - L.A. and the London plague - as the same event. A time of crisis. A time when rich and poor get thrown together - and, suddenly one sees alternatives. I began to think about what happens when the containment of a presumed danger through the regimentation of space breaks down, such as when South-Central L.A. began to invade Beverly Hills.

Success does not necessarily create happiness. I could take you on a tour of West Lost Angeles. You would be surprised that happiness does not blossom in Beverly Hills any more than it does in most places.

In real life, there are right-wingers, there are anti-immigrant activists who want to overturn this constitutional right that we have to become Americans when we're born in this country. There's lots of people who believe that this has led to the phenomenon of the anchor babies. I am an anchor baby. My parents were able to receive their residency and citizenship because, I, a U.S. citizen child of theirs, was born in Los Angeles.

Los Angeles is a one-horse town. It's entirely driven by the entertainment business and that's what it is.

Many of my friends back in New York and elsewhere have a glib or dismissive attitude toward Los Angeles. It's a place of strip malls and traffic and not much else, in their opinion.

I remember being really interested in the sad parts of Los Angeles, of which there are many, and knowing we weren't up in the citadel on the hill, but we also weren't on the bottom. I was very interested in the poetry of failure as a child.

I would see my hometown, Los Angeles, change. Green space and orange groves gave way to cement, freeways flooded with traffic, and air pollution, all in the name of "progress." I felt like I was losing my home. It had a profound effect on me, and I realized just how important nature was to my spirit, my soul, my point of view.

I could do an American accent, if I were immersed in the accent, meaning if I were living back in Los Angeles and rehearsing and auditioning the whole time.

When I got to Los Angeles, I started building cabins in peoples’ yards, building post-and-beam structures and cutting the joinery for those.

People who grew up in New York City or Los Angeles tend not to even understand what goes on in the rest of the country. I'm really glad to have grown up in an environment where I actually was kind of a weirdo because I was obsessed with comedy and movies and stuff.

Anyone living in Los Angeles who has opposable thumbs is required to write a screenplay.

In Los Angeles all the loose objects in the country were collected, as if America had been tilted and everything that wasn't tightly screwed down had slid into Southern California.

In high school, I was on the youth advisory council for the Mayor's Office of Los Angeles, and that was kind of my first experience in the bureaucratic system. We tried to get things done, and nobody was really interested in getting anything done.

Missing Persons was based in Los Angeles.

I lived in Los Angeles in the '80s, which was not the best place to be.

Generally people are afraid. They pretend they aren’t; it’s part of the denial. We’re all part of it. As much as we pretend otherwise, we want what’s comfortable, and we’re afraid of the different. We’re afraid of change. It happened in Los Angeles, too, when the first models of Disney Hall were shown. You should have heard the outcry from the public, critics and press. It was called “broken crockery,” “outlandish” and blah blah blah. Of course now the feeling is different.

When I moved to Los Angeles, my goal was to gain respect - whether it's in big or small projects - and as long as the work is good I'm happy.

I've done a number of readings at poetry lounges in Vancouver and Los Angeles. I've compiled a book of poetry that's completed, and two others I'm working on.

Captain Crawford didn't like the idea of any kind of murder, but he went at it patiently and honestly and with none of the stupidity and bombast and rubber-hose techniques that Los Angeles crime fiction writers had led me to expect. I'd gotten the impression that unless a gifted amateur in love with the lady got himself almost beaten to a pulp and practically inside the lethal gas chamber before he unmasked the venal and brutalized constabulary, any innocent bystander they could get their hands on was a gone duck.

Whenever I write lyrics, in the back of my mind I always see a guy driving to work, driving to a really bad job, one of those horrible institutions, or one of those low squat buildings in Los Angeles. I write with that person in my mind.

I wrote an article not so long ago that was published in the Los Angeles Times, and I think I titled it "Movies vs. History." But I think they had another title for it. I got sort of sick and tired of seeing movies that got picked apart by people because they had taken dramatic or poetic license and I said "These people don't understand the distinctions."

My parents moved to Los Angeles when I was really young, but I spent every summer with my grandparents, and I'd stay with my grandfather on the farm in Longview. He was retired from the railroad, and he had a small farm with some cows and some pigs. I remember part of my youth was feeding hogs and plowing fields and stuff, so that's a part of me.

Los Angeles is like a beauty parlor at the end of the universe.

I turn up in Los Angeles every now and then, so I can get some big money films in order to finance my smaller money films.

I've spent so much time the last seven, eight years in Los Angeles, away from my family, away from my friends, away from the city that is my favorite place to be and I just want to come here and have a proper life.

It was pretty fun [auditioning on the Millennium Falcon], because I enjoyed the material a lot. Last year I read for the directors, then came to England and did a test on the Falcon, then came back and did a couple more screen tests in Los Angeles.

After moving to Los Angeles in the early '90s, I started looking into "music for picture" more seriously and in broader scope. My collaboration as a programmer and arranger with Graeme Revell exposed me for the first time to the full spectrum of film music, including the hectic demands of orchestral scoring and the power politics surrounding the finalization of any score for a major motion picture in Hollywood.

I owe my whole acting career to the fact that I'm a singer. I went out to Los Angeles and auditioned for a TV show called 'Fame L.A.' The original role was for a comedian, but they said I wasn't very funny, so they asked me, 'What else can you do?' So I played a singer.

Shooting at night in Los Angeles is amazing. The city shuts down at 10 P.M. every night, and a whole different cast of characters comes out.

Georgia was a great place to live, but I wanted to get out because I knew the opportunities for what I was doing - stand-up comedy and eventually acting - were in Los Angeles.

I recall asking the late eminent liberal historian Arthur Schlesinger, in a public forum in Los Angeles in the late 1970s, if he would say that America was, all things considered, a better, i.e., more moral, society than Soviet society. He said he would not.

Vampires have bright eyes glistening white teeth unnaturally smooth skin and a certain animal magnetism. If they aren't pretty they starve. It's sort of like life in Los Angeles.

The incident itself happened in London, but because we were all based at the time in Los Angeles we moved it there. Certain details are almost exactly like the true experience, but we decided to make the film more of a thriller, in the hope that it would reach a bigger audience. That's why it's called "Selling Isobel" and not "Selling Frida." We didn't want to make a dark, depressing "movie-of-the-week."

I grew up in Los Angeles in a Quaker family, and for me being Quaker was a political calling rather than a religious one.

Only Los Angeles could produce a creature such as myself. New York is a boutique city. You have to be wealthy and of privilege to be able to live comfortably there.

In the US you have New York, San Francisco, Los Angeles, Boston, Miami and dozens of other cities; a few of them have a really strong visual character. But even with those there is just too much space between them and too many people.

I came to Los Angeles and did auditions for television. I made a terrible mess of most of them and I was quite intimidated. I felt very embarrassed and went back to London. I got British television jobs intermittently between the ages of 23 and 27, but it was very patchy.

I moved from Minnesota out to Los Angeles and I thought I was going to hate it out there, but I really like it.

There was a very small crowd - minuscule compared to the crowd that he gathered later - at a private home in Los Angeles. And we were standing on the back patio, waiting for him. And he came through the house, saw me and immediately put his hand up in the Vulcan gesture. He said, 'They told me you were here.' We had a wonderful, brief conversation and I said, 'It would be logical if you would become president.'