Quotes About Hollywood

The irony is I did an intimate film in France with no stars and that got me to Hollywood. It got me to the Oscars. If I had tried to imitate the Americans or the Hollywood movies with a commercial recipe, I'd never have gotten to Hollywood. Although, it was not my goal in any way, and I never thought there was any connection between Monsieur Lazhar and the Oscars.

Hollywood's thinking is very typical. And it's just really predictable too. And I think at Hollywood, these box office movies are flopping. I mean, there hasn't been an original thought coming out of Hollywood since the '80s.

I became super claustrophobic with Hollywood. I don't like Hollywood. I don't like what it represents. I think that Hollywood is great if you're an actor, actress, established. But for reality people or what people perceive as reality, it's tough. People are constantly discrediting everything you put on camera.

I think Hollywood... well, there is no Hollywood anymore so let's just call it the mainstream since the business is no longer Hollywood producing its own films and then distributing, they just distribute.

There are a lot of wannabe men in Hollywood. But when you have that Hollywood mentality, there aren't a lot of real, grounded people.

Everyone has a warped vision of Hollywood and what success in Hollywood is like.

Making African American films are hard in Hollywood. We need to rely on a support network and bring more cohesion to different filmmakers, actors, producers etc. It's a very difficult business. There aren't a lot of Africans Americans or people of color in high positions in Hollywood that we can green-light films.

I find Hollywood gives these pat stories, and they're reassuring stories, and I don't really want to give people that. Hollywood does all that work. I'm offering, sometimes, an alternative to that. The answers aren't black-and-white. There may not even be answers in certain instances. The ground is not necessarily solid, either. So you've got to keep awake the whole time, even after the movie is over.

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.

In Hollywood, I think I get a bad rap for being a perfectionist. It's something that's not always welcomed in Hollywood, because you're always pushing people and you're pushing yourself to be the best that you can be.

I'm not a Hollywood director. I'm an in spite of Hollywood director.

I hear Jerry Falwell every Sunday here talking about the devil and Hollywood. . . . I'm gonna write him a letter. Hollywood wasn't built on filth and dirt - it was built on talent.

I think Hollywood is incredibly segregated. I've never seen any place like it. The gatekeepers who are the most progressive activists inspired to make the world better... they're better people, right? They're segregated. It's self segregated in some cases, but there's nobody Black in charge of anything in Hollywood.

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

It's a fact, the majority of films in Hollywood are from the male perspective. And the female characters, very rarely do they get to speak to another female character in a movie, and when they do it's usually about a guy, not anything else. So they're very male-centric, Hollywood films, in general. So I think it's incredible that Ned Benson, when I said I'd love to know where she goes, says okay, I'm going to write another film from the female perspective.

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.

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.

One can't imagine a Hollywood film whose entire purpose was to ridicule, say, homosexual activists, feminists, animal rights crusaders, or environmentalists. That would be blasphemy. Hollywood understands that religious people, particularly Christians, are the last group in America besides businessmen who may be defamed with impunity.

It's a lot easier to make a living as a writer in Hollywood than it was probably 10 years ago, though there's still just as many unemployed people in Hollywood as there ever has been, but there's so many more avenues to sell things, because of digital, and Amazon, and Netflix, and all these different platforms. That's crazy and exciting in a creative way, and we'll see where that all stands five years from now. But on the corporate side, I still see that pendulum swinging back in that other direction, which is a little not comforting.

Film is universal. All the countries of the world are making films. Hollywood is the only major unsubsidized center for films. To my knowledge all others are at least partially subsidized. I'm glad Hollywood isn't.

Just as many people flee Hollywood as those who flock to it. Hollywood can be an acquired taste.

When I made Spartacus during the McCarthy Era, we were losing our freedom. It was an awful, awful way. McCarthy saw Communists everywhere, in every level of government and they concentrated on Hollywood and especially on Hollywood writers.

It just kind of continues to be strange and interesting to me to try to understand what other people are looking for. And this also just comes from getting older. You look at the stuff certainly that's coming out of Hollywood these days, and you go, "Did what came out of Hollywood when I was a kid make more sense, or was it just that I was in the demographic then?" But I certainly feel increasingly confused and disconnected from it.

Every country gets the circus it deserves. Spain gets bullfights. Italy the Church. America Hollywood.

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.

At the end. First start off and do your youth thing In Hollywood and then go to New York later. But it wound up being later, later than I thought it was going to be.

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.

Hollywood has known this for quite a while: Cable is the place to go because they truly have a supportive network and they want to do things that cannot be seen on broadcast. That stimulates the writer-producer. Cable is king.

I don't crave Hollywood.

Everyone in Hollywood is seeking fame and fortune; it's in the water here. Everyone from young women to old men - they all want it.

I would be good for maybe not the center square but an upper square on 'Hollywood Squares.'

I have a silicone bust, and half of Hollywood - artificial person.

My husband is someone who's in the real world. It's a big help that I don't have both feet in Hollywood

I don't think I ever understood Hollywood.

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.

The films of The Caine Mutiny and Marjorie Morningstar always seemed to me mere thin skims of the story lines, and I never did see a meager Hollywood caper called Youngblood Hawke, vaguely based on my 800-page novel. So it was that I opted for television, with its much broader time limits, for The Winds of War.

When it comes to turning out movies, I'm for Hollywood.

I never know what my next move will be in Hollywood. It's such an unpredictable town. People get jaded and lost and I've been able to stay a float. I think the next logical step in my career would be to start my own filmmaking empire like (Harvey Weinstein) and (Bob Weinstein) did so many years ago. I think if only the unions weren't so strict in Boston, I'd set up shop there and make films of a certain quality you don't see represented these days. I'm full of ideas and dreams.

I think Hollywood has seen what fandom can do for a project. You can definitely see that when you go to Comic-con.

I never watched Friends, maybe because it was written by people straight out of college....The only way to avoid age discrimination in Hollywood is to die young.

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.

It was pop culture, entertainment, Hollywood, award shows - these are the things that really captivated me as a kid. I would watch the Oscars and every award show with my parents. I would make lists of who was going to win.

Hollywood's always saying, "Yesterday!" and scares you to death with all that deadline and yelling and impatience stuff.

I don't think about Hollywood at all.

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 always felt that I was born in the wrong era. I wanted to be friends with John Garfield, for instance. He was one of the only actors that refused to testify in front of the House Un-American Activities Committee back when the Hollywood Ten blacklist was happening in the McCarthy period. I wish I could've been friends with Charlie Parker and played with him. That's my period. I feel real close to the '40s - and actually I was born in '37, so I was a kid singing on the radio in the '40s. But I always dreamed of going to big cities.

Hollywood's just not funny.