Quotes About Hollywood

Los Angeles is Hollywood and Hollywood is Hollywood Blvd. It's the first thing you want to see. It's the only thing really that you know about as far as Los Angeles is concerned. And so you go and you look at Joan Crawford's hands and feet and the whole history of American filmmaking is encapsulated in that one little area on that one street. That street, to me, has always been the street of dream.

Our concept of beauty is taken from Hollywood, which is anti-black. We don't see ourselves as beautiful in most cases. Although we are naturally one of the most beautiful peoples out there, we don't see it. We don't get the point. Hollywood sets the standards.

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

I consider my relationship with acting in Hollywood as sort of a mutual breakup. Through puberty, Hollywood didn't really want me anymore, and I was like, 'Yeah, I don't really want you, either.'

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.

If Hollywood is the global producer for [media] products all around the world, that's of concern. If all audiences around the world know of America is what they see from Hollywood, then we're in trouble.

Even though I've done Hollywood films, I still don't think of myself as a Hollywood actress.

In Hollywood especially, if you're gay and conservative, it's worse to be a conservative in the gay community than it is to be a conservative in Hollywood.

I have no interest in changing Hollywood. Hollywood is a place so consumed by the spirit of the world that I don't even want to try to think about how to infiltrate that.

In Hollywood, they put the knife in your front; in D.C., they put it in your back. I found far fewer duplicitous people in Hollywood.

Like in [the 1950s] if you wanted to ruin someone´s career in Hollywood you claimed he was a Communist. Nowadays, you want to ruin someone´s career in Hollywood, you claim they are Republican.

Hollywood was invented by hoodlums from central Europe. And today a Hollywood lawyer is not a hoodlum. He's a bureaucrat.

The only way that Hollywood ever skews toward liberal is because part of what we make out of Hollywood involves writers, actors, directors, musicians, set designers, and photographers. In general, people like that are going to be more progressive, more open minded, a little more altruistic.

Washington is a Hollywood for ugly people. Hollywood is a Washington for the simpleminded.

Hollywood has to appeal to the broadest audience, and when it comes to most social and economic issues, America is progressive. Because of that, the messages that are in Hollywood movies tend to be, for instance, pro-environment.

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.

Dark, subtle, complex, wicked - if only Hollywood movies were half as interesting as Hollywood accounting.

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.

Each time I get off a plane in Hollywood, I don't think I'm pretty enough.

As a runner on a film, you are the lowest of the low, and yet you have incredible access to everyone. I can totally imagine that for actors in the middle of a Hollywood bubble, all they really want is a sense of normality, and that gopher can be a tap for that.

Hollywood is a very small world; the people who matter matter, and the people who don't matter are just like nothing.

I do not make films which are prescriptive, and I do not make films that are conclusive. You do not walk out of my films with a clear feeling about what is right and wrong. They're ambivalent. You walk away with work to do. My films are a sort of investigation. They ask questions . . .. Sometimes I hear that some [Hollywood] studio is interested in me. Then they discover that this is the guy who works with no script, that there is no casting discussion, no interference, that I have the final cut, and that does it.

I think if I had come out of drama school and been an instant Hollywood superstar, I would be taking long, leisurely holidays.

I have friends who have a CD mastering plant in Hollywood and they are very sceptical about European record labels' understanding of digital technology.

For a woman to direct a movie in Hollywood, she has to go through so many layers of rejection by the powers that be - I suppose including myself - that it is harder to get to that point. So you can't just create something. And I think there is a whole unconscious mountain.

People always say to me, "What's wrong with Hollywood? They don't want to make female-driven movies." And that's not where the problem lies. It lies with us, in society. When we make these movies, nobody goes to see them.

I had done a couple TV pilots, and a friend of mine wanted to leave comics and come work in Hollywood, and I said, "Well, you've got to understand that when you sell a TV pilot, imagine if you turned in the best issue of Batman ever, and DC was like, 'Well we love this, but we can't publish it because we have to publish this other thing by this other person." The odds are really long on getting anything made, so if you come from comics and you're still making a living in comics, that really helps because you're not desperate for someone's permission to write for a living.

Being a conservative union member is almost like being an actor in Hollywood: You don't dare say it, or you might be injured on the job, or you might be laid off, or your family might have something happen to them.

Perhaps I'll get used to this bizarre place called Hollywood, but I doubt it.

The idea was to take fine art and put it into the location of the movie scripts. The script itself is collage - some of the lines come from actual movies and I've written others to make the text work with the found image. In this way, the details of old dead guys' paintings (from the collection of the Städel Museum in Frankfurt, where this work will be exhibited in relation to the historical paintings) become illustrations of the movie scripts. I found this mélange of high art and Hollywood amusing.

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

I treat Hollywood as my high school.

Like one of those fake-smart, middlebrow TV shows, the speciousness of The Social Network is disguised by topicality. It's really a movie excusing Hollywood ruthlessness.

The breakdown of the modern movement led to what later became known as postmodern-whatever the hell that means-referring to the mixture of people and backgrounds that became a common thing among artists in America. Many of the great artists in America, for example, came from Jewish families and backgrounds that fled all the way from Russia. It's remarkable, the great masters of American art and cinema who were coming from old roots in little villages there. And then Hollywood, and the haunting, hypnotic impact that American Cinema had throughout the world . . .

When I was writing Razor Girl, I thought it would be fun to have a redneck TV family that was really just a bunch of actors who had to be trained to be rednecks. That's not so farfetched, if you know how Hollywood works.

I think it is the responsibility of critics to rely less strenuously on, to use a Hollywood phrase, "what they can live with," and more on an examination of the works of art from an aesthetic and clinical point of view.

I look at going to Hollywood as going behind enemy lines. You parachute in, set up the explosion, then fly out before it goes off.

I'm happy with the way I look, but I'm not Hollywood beautiful.

The traditional model for a company like Coca-Cola is to hire one big advertising agency and essentially outsource all of its creativity in that area. But Coca-Cola does not do it that way. It knows how to manage creative people and creative teams and it has been quite adept at building a network that includes the Creative Artists Agency in Hollywood, which is a talent agency.

I was told once that I didn't play the Hollywood game, and that's why I wasn't a big star. What they meant when was that I don't go to parties, and when I go to an audition and I don't like the script, they know it

Because someone stole Gregory Peck's star on Hollywood Blvd., I have hired a Brink's guard to protect my star!

The way the recession has affected Hollywood, a lot of actors that had robust opportunities before in film no longer have such plum options, so cable has done a good job of becoming a happy medium for artists deemed film actors.

Every actor. every director, everybody needs an Oscar. You have to have that little statue in Hollywood or else you are nothing.

I have my own style that happens to be different from everyone else in Hollywood. My inspiration is me.

Hollywood is the only place in the world where an amicable divorce means each one gets fifty percent of the publicity.

I was one of the first women producers in Hollywood.

I'm someone who has a singular goal in making films; I want to tell a story. There are certain stories that I want to tell. Hollywood's never really been the ultimate goal for me.

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