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.

Any ensemble - they didn't call it "the all-male Expendables," for example. But it's Hollywood's fault that people say that, because there have been so few movies that have allowed women to have these leading roles, so that's Hollywood's fault.

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.

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.

I didn't come to Hollywood. Hollywood came to me. A lot of people wish they could say the things I say. Everyone out here is so phony, it's sickening.

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.

Hollywood doesn't believe in the death penalty for anyone except people who get cable TV without paying for it. Hollywood is like being nowhere and talking to nobody about nothing.

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.

Bloated budgets are ruining Hollywood - these pictures are squeezing all the other types of movies out of Hollywood. It's disastrous.

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

North Hollywood isn't actually Hollywood, it's in the San Fernando Valley... it's not the most glamorous part of L.A.

I have not walked away from Hollywood. I'm walking away from the way I personally did business in Hollywood. The budget of whatever movie I do needs to be efficient; it needs to consider what kind of resources we're using and how to be as responsible as possible.

I am not going to do a film based on a bad scenario just to make a big Hollywood film or work with Hollywood stars.

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.

One thing to argue against Hillary Clinton being harmed by my saying on aging is that when you take Hollywood and television and look at the primary demographic there. Hollywood movies. Most of them are made for guys that still have acne, just reached puberty, you know, under 24. And they don't vote, the lowest common denominator in terms of age demographics.

Ask anyone in America where the craziest people live and they'll tell you California. Ask anyone in California where the craziest people live and they'll say Los Angeles. Ask anyone in Los Angeles where the craziest people live and they'll tell you Hollywood. Ask anyone in Hollywood where the craziest people live and they'll say Laurel Canyon. And ask anyone in Laurel Canyon where the craziest people live and they'll say Lookout Mountain. So I bought a house on Lookout Mountain.

Most people grow up dreaming of going to Hollywood and some of them work and work and work and finally end up in Hollywood.

In the middle of my third Hollywood picture The Magician, the earthquake hit Hollywood. Not the real earthquake. Just the talkies.

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.

I thought I should forget Hollywood and go back to Hong Kong. I'm so lucky that finally Hollywood accepts my comedy fighting.

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.

When you're in Hollywood, you get sort of jaded about what you think the sense of humor of Hollywood is supposed to be, so you can't think outside the box.

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.

There was no doubt that there was a vast organization which was making fools of all the liberals in Hollywood and taking their money, that there was a police state among the Left element in Hollywood and Broadway.

There's a rule in Hollywood: stay away from water and stay away from snow, and I had both.

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.

I still giggle when someone asks for my address and I say, Hollywood, Los Angeles.

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.

You have to treat Hollywood like it's your boyfriend - he's there all the time.

I just think the David O. Selznick story is one of the great, epic stories of Hollywood history that nobody knows. Maybe one of the reasons why nobody knows it is because he wasn't a movie star.

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

Madonna is her own Hollywood studio - a popelike mogul and divine superstar in one. She has a laserlike instinct for publicity, aided by her visual genius for still photography (which none of her legion of imitators has). Unfortunately, her public life has dissolved into a series of staged photo ops.

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.

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

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.

I've certainly been to Hollywood parties, and I have friends that are ridiculous - wonderful people - but they're high rollers with tons of money.

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.

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.

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.

When I started in the late nineties, it was all about young Hollywood. There were jobs for all of us if you were 18 to 21, were slightly good looking, or could be funny.

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.

When I look in the mirror, I see someone who's happy with how he looks, because I was never one of the handsome Hollywood people. And I've had success as I've gotten older, because I'm able to play characters. I no longer get the girl, but I get the part.

There's nothing nicer than coming back to your village, where people like my mum's friends take the mick out of me. I prefer that to the craziness of Hollywood.

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.

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

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.

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.

If it isn’t for the writing, we’ve got nothing. Writers are the most important people in Hollywood. And we must never let them know it.