Quotes About Hollywood

The problem in Hollywood is that they try to become the only kind of cinema in the world, okay? The imposition everywhere of a unique culture, which is Hollywood culture, and a unique way of life, which is the American way of life. But Hollywood has forgotten that, in the past, what made Hollywood great and what made it go ahead was the fact that Hollywood was fed with, for example, Jewish directors coming from Germany or Austria and enriching Hollywood. In 15, 20 years, Hollywood became imperialistic. Cinema goes ahead when it is marriaged by other culture. Otherwise, it turns on itself.

I like to go to the movies at The Hollywood Forever Cemetery. They do this thing in The Hollywood Forever Cemetery in Hollywood where everybody sits out on the grass and they project movies and it's very romantic and very old-school Hollywood, so I love that.

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.

I ask everyone - white Hollywood and black Hollywood - to get outside of your comfort zone and make friends. That's where they're going to learn from each other, and that's where they're going to make better movies and make Hollywood a better place.

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 grew up in a Hollywood family with money, so money is not the reason I make music. I'm as Hollywood as it gets. Not internally but externally - that's my bloodline.

There isn't any question that Hollywood is profit driven. Anybody that thinks it isn't is a fool. It's a business. Hollywood was never philanthropy. The only purpose it had was making money; the only purpose it still has is to make money.

I went to Hollywood. I put the action in Hollywood. I watched a lot of movies, maybe 100 or something close to that. I have tons of DVDs now at home. I don't know what to do with them because they're not useful anymore. My kids never watched them. I read a lot of autobiographies, listened to a lot of music by classical era composers like Franz Waxman, Max Steiner, Bernard Herrmann, Alfred Newman and Leonard Bernstein. I listened to only that kind of music the entire time I was writing, even at home.

Hollywood's martyr-mythology leaves out the fact that the famed Hollywood Ten, for example, were in fact members of the Communist Party, which advocated the violent overthrow of the U.S. government in violation of the Smith Act and which took orders directly from Moscow.

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

England has been praised for turning out intelligent, adult pictures whereas Hollywood has been severely censured for turning out junk. I don't think criticism is a valid one because, in defense of Hollywood, we have censorship problems England doesn't have. I'm not speaking of the license to do sexy stuff. I'm speaking of the license to present adult ideas and viewpoints, which we lack and which means in turn that many of our pictures lack intelligent content.

Michael Moore didn't have to worry that anyone would misinterpret the title of his film, 'Capitalism: A Love Story,' because in Hollywood, no one loves capitalism. That's too bad, because Hollywood is one of capitalism's greatest successes.

What you have now is a Hollywood that is pure poison. Hollywood was a central place in the history of art in the 20th century: it was human idealism preserved. And then, like any great place, it collapsed, and it collapsed into the most awful machinery in the world.

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.

Hollywood is much more than America. Hollywood belongs to all of the planet.

It takes a pretty strong person, a rather unusual young person, to stand up to ridicule and refuse to give in to temptation. There are so many things today in modern music, on television, and in the movies that portray a life that is nowhere near the life the Lord would have us live. Consequently, we cannot afford to turn to the radio, television, or Hollywood to take our cues about what is right and what is wrong. It is scary to realize that the more we are exposed to Hollywood's version of life, the more we gradually begin to accept it.

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.

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.

In Hollywood, story content of movies follows a hierarchy of power, not the relative quality of various ideas. Hollywood does not lack for quality writing. It's just that quality writing commonly has to be sacrificed in order to propel a film into production. A studio needs a star and a director to make a film, so those are the folk who'll define the content. If they don't have the same creative sensibilities, then the content will change.

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.

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.

The good part of what comics trains you to do is it trains you - especially if you've worked in mainstream comics like Marvel and DC, or if you're just doing your own independent comics - to compartmentalize things and work on multiple things at the same time. And that's a skill that is incredibly handy in Hollywood, because within the first year that you get here, you realize there's a reason why every successful person in Hollywood has like seven or eight projects up in the air at any point.

Harrison Ford is absolutely amazing. He is a Hollywood icon, and just to work with him was absolutely incredible.

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

The real Mary Poppins got lost when Hollywood turned her into a cream puff.

The Hollywood atmosphere of crises and continuous anxiety is a kind of hysteria which prevents people from thinking, and is not too different from the way dictators use wars and continuous threats of war as an emotional basis for maintaining their power.

Hollywood has an obligation to watch what they put out there. Kids do imitate what they see - good or bad.

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.

Joe Lieberman frightens me. Why should we, an Hollywood voter, donate money to a man who threatens our creative freedom, our freedom of expression.

I've chosen not to live in Hollywood, and instead I live in Brooklyn, New York. It's how I like to live. I'd rather hang out with my kids and family when I'm not working. Going to premieres is not my idea of a fun night out.

One of the best lovers in Hollywood. What would a title like that encompass exactly? She wondered. Technique? Enthusiasm? Or was it more about equipment?

I like to go to the races at Hollywood Park, but I don't usually win with the horses, so afterward I go to Auntie Em's and drown my sorrows in a red velvet cupcake. It never fails me.

Alan Ladd was a marvelous person in his simplicity. In so many ways we were kindred spirits. We both were professionally conceived through Hollywood's search for box office and the types to insure the box office. And we were both little people. Alan wasn't as short as most people believe. It was true that in certain films Alan would climb a small platform or the girl worked in a slit trench. We had no such problems together.

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.

Historically, Hollywood comedy has arrived in skinny envelopes. From fence post Buster Keaton to herky-jerky Jerry Lewis to wiry nerve-bundle Woody Allen to hung-loose Richard Pryor to whippy contortionist Jim Carrey, its comics and clowns have tended to be sliced thin and bendable.

I've always wanted to be like the Hollywood Golden Age actors.

In all of our society, but especially in Hollywood, there is an obsession with perfection that can lead to self-loathing and neurosis and all that kind of stuff.

At an age when most youngsters are preparing for their GCSEs, I was suddenly a jet-setter, briefly the toast of Hollywood and London's West End. My immature wishes and naive opinions were treated with respect.

I wasn't working much. So I focused on studying, and I really learned what it means to be an actor. And here I was on Jonny Quest,working with all these great people from back in the golden age of Hollywood, who came up doing radio. These were journeymen, working actors. It made me proud, and gave me some insight into what acting was really about if you weren't a star.

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.

I've never been turned down for a role because I'm gay. I'm a character actor, and that's probably why. I don't find Hollywood, in my own experience, to be homophobic. ... But I do think the straight folks will continue to play the straight roles.

From Mount Hollywood, Los Angeles looks rather nice, enveloped in a haze of changing colors. Actually, and in spite of all the healthful sunshine and ocean breezes, it is a bad place - full of old, dying people, who were born old of tired pioneer parents, victims of America - full of curious wild and poisonous growths, decadent religious cults and fake science, and wildcat enterprises, which, with their aim for quick profit, are doomed to collapse and drag down multitudes of people.

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

There are definitely roles within this industry that are industry-related, but to be a good actor, you really have to want to act first. At the same time, my goal was never to go to Hollywood to make movies. I think if you come here with that attitude, then you've missed a few steps.

I would definitely like to continue my career in Hollywood, work hard and do my best.

I'm just a pack mule. I've played leads and I've played character roles. Any actress in Hollywood will tell you as your age climbs, the leads thin.

With action in Hollywood, a choreographer will be hired to design an amazing fight, with all these cool little narrative bits, such as a fighter having to perform a certain move because he's been injured and can only move that way, but it can all get lost in translation because the director then does what he wants with it and then passes it on to the editor, who does his interpretation of the fight. It becomes almost like Chinese whispers, so sometimes the end fight you see on film is so different to how it was conceived and looked on the day.