Quotes About Hollywood

What does it mean to be too black for Hollywood? It's self-explanatory. Hollywood has certain kinds of blacks that they like.

In Hollywood a girl's virtue is much less important than her hairdo. You're judged by how you look, not by what you are. Hollywood's a place where they'll pay you a thousand dollars for kiss, and fifty cents for your soul. I know, because I turned down the first offer often enough and held out for the fifty.

In Hollywood - in Hollywood, you're as good as your last picture.

All Hollywood corrupts; and absolute Hollywood corrupts absolutely.

Like me, Marilyn Monroe had suffered at the hands of some not very nice men. She was used, unappreciated and struggled to find herself. She worked her way up in Hollywood with stars in her eyes and a kind heart, but found that Hollywood wasn't always as kind in return. She may have been publicly adored, idolized and lusted after, but she felt alone and trapped.

I naturally have some curves, like most women, just unfortunately not like most women in Hollywood. I'm only considered curvy in Hollywood. It's a weird town.

Hollywood changed to become a more marketing-driven Hollywood, where people who are running the studios are more like marketing people, and they need titles.

It's such a funny thing. Hollywood is terrible unless you happen to be a celebrity who's a Republican. So Ronald Reagan can be a Hollywood celebrity, and he's a Republican, and then he can become the president, and that's okay. Fred Thomson, well, that's okay. But the rest we need to demonize. There's no consistency.

Hollywood is still the cradle of many myths, including the one of eternal youth. I find it odd that the very notion of desire, when applied to a woman over 40, is turned into a pathology or a mockery in a number of films. But Hollywood is not the only place to blame, by far. This is just a rendition, possibly magnified by the power of movies, of a general state of things, social, cultural and political.

The most remarkable thing about Hollywood is that it does not exist. ... Hollywood, in a word, has no center, never had one, no city hall, court house, church, square, or rather it probably has some of those but they're so aimlessly thrown in with the general jumble ... that I, for one, never found them.

I'm not criticizing Hollywood because I work there, I partly live there. But I'm saying this is the way it is, commerce is taking over art. Commerce has become the most important thing in the film industry. Hollywood is an industry, it's not an art form, therefore they have to address the bottom line. But in a way it's sad when you get a remake, isn't it?

I don't think that Hollywood will have much to do with changing politics. Hollywood usually reflects things.

I'm not a Hollywood basher because enough good movies come out of the Hollywood system every year to justify its existence, without any apologies.

The difference between working on Asian and American films is in the producer and director; everyone has their own style. But, Hollywood has a lot more money; they can spend a lot on films, and time. In Europe, there's a small budget and thinking about commercial. Only budget and taste is different between there and Hollywood.

When you think about it there's never really been a realistic exposition of Hollywood, I mean - from the inside - showing Hollywood what it can do, what it has done, to people.

THE DYING GAUL is a Hollywood satire. But Hollywood is not the real subject matter here. My play uses that world of high-rolling big money - that crazy-making business - to examine a whole range of subjects.

Working with David Cronenberg or Darren Aronofsky or even Steven Soderbergh isn't really like a typical Hollywood movie. These are true artists, and have a certain amount of freedom when they work, and they're more like independent filmmakers making their way through big studios. I still don't feel like I've been part of the stereotypical Hollywood system.

I think that Hollywood is sort of guilty of having a moral blind eye on this subject. While at the same time, you know, being involved in a lot of liberal causes and being involved very militantly, Hollywood is, in fact, guilty of helping to addict people to smoke.

Working in Hollywood, it's clear the more money you have, the more technology you can get. So you can build a whole Japanese set. Only in Hollywood!

My grandmother and I followed my mother here, to a house a block north of Hollywood Boulevard but a million miles away from Hollywood, if you know what I mean. We would hang out behind the ropes and look at the movie stars arriving at the premieres.

Last summer a second unit production crew went to France and shot scenes for several of this seasons episodes. They shot costumed actors in and around real castles and landmarks, we couldnt possibly have duplicated here in Hollywood.

Hollywood is the backdrop of my family, and I know that the movie business is incredibly cruel as you get older.

National film industries tend to move in cycles. In Australia right now, we're on a high, a feeling of potential, which as yet shows no sign of flagging. But the word "industry" is misleading. A small national cinema has no industry in the Hollywood sense.

The '90s were a time when not just the movie business, but every aspect of American life, became a lot more corporate. There's a line in Jonathan Franzen's essay "Perchance to Dream" about how "the rich lateral dramas of local manners have been replaced by a single vertical drama, that of commercial generality." I wanted to examine that great homogenizing force that came in during the '90s, since Hollywood seemed a place where it was particularly active.

A lot of nudity in my early movies was out of necessity. When I came out to Hollywood, I didn't know anybody, I didn't have any connections. I did what a lot of people have to do in the real world, and just work up from the bottom.

Mr. Reagan spent World War II, the global conflict fought and won by his generation, making training films in Hollywood.

There were Hollywood movies and then there were those aggressively anti-narrative films that they showed at the Collective for Living Cinema.

There's something uniquely aggravating about the smugness of liberal Hollywood.

Ironically, even the fashion in New York or Paris or Milan or whatever, or music in Berlin, or art in, I don't know, Madrid - all these scenes come and go. Everything leads back to Hollywood.

I think that Hollywood should also be influenced by directors from Hong Kong. You see how Quentin Tarantino is really the example of how you can develop, and how you can go ahead if you accept the existence of different cinematic cultures. There you have Quentin playing with kung-fu. That's why the independents are the most interesting.

Because I didn't go to film school, I had a collection of books that were inspiring or taught me how to make movies, shorts with my friends back in Brooklyn, and one of those books was How I Made a Hundred Movies in Hollywood and Never Lost a Dime which is Roger's autobiography. After reading that, I realized that oh my God, this guy is behind all my favorite Pam Grier movies. Oh my God, he made the Vincent Price Poe films that ran on television when I was little. He did Grand Theft Auto. He made Death Race 2000.

A hit show takes Hollywood magic indeed, but it also takes a lot of math and science, plus the study of polls and trends to make and sell a TV show.

I think my music is great for film, but I don't have the opportunity, or goesche to go and pitch myself to Hollywood.

I do Broadway because I refuse to succumb to the stereotypical things that Hollywood does to a performer.

Comedy Central was a great network, but 'Chappelle's Show' took it to a completely different level. Other shows got bigger because so many viewers were watching the 'Chappelle' reruns. For BET, the 'Real Husbands of Hollywood' has that same potential.

If Hollywood hadn't existed, Elinor Glyn would have had to invent it.

I wanted people to see that I really am a real person. I'm not just some guy who was on a TV show, some guy engulfed in the Hollywood life. I'm just a normal guy when it comes down to it.

In Hollywood, moviemaking used to be about escaping reality to go to the movies.

I was one of the first women producers in Hollywood.

This Hollywood ain't no good, I would rather be like Robin Hood.

No matter what you go through with the business side or the Hollywood side at the end of it all, when you are there on the set, it is your thing. So it is your own private world and that's great. That's where you have that bubble to create something in.

I live in the Hollywood Hills. When I see a cop driving around there, I actually assume that he has my best interests at heart and that he has the best interests of my property at heart. I think if you'd go to Pasadena, they'd say the same thing. And I think if you knocked on doors in Glendale and asked them, they'd say the same thing.

What is the thing that Hollywood demands most? Sincerity. No place in the world will pay such a high price for this admirable trait

I've witnessed racism all my life. And of course there's racism and discrimination in Hollywood. You go for a part and they say, 'Oh, we really liked her, she's amazing, but we wanted to go with something more traditional'. As if I'm not a traditional American!

[On Hollywood:] I had gone there expecting to see parties that reflected the stock-in-trade of the movies - glamour. Instead, I found the same attitude toward parties that European peasants had for baths. It was something to be done methodically every Saturday night.

I live right under the Hollywood sign, so that every day when I drive home I'm reminded of why I'm here.

Hollywood is in the perception business where you create layers to create mystery. In Silicon Valley it's about taking away the layers to get to the substance.

Hollywood is an illusion. These intense workplaces, with very close relationships, a few months at a time - and then it ends.