Quotes About Hollywood

I didn't go Hollywood on the outside with flashy cars, upstairs maids and mink covered bathroom fixtures. I went Hollywood on the inside and that's worst of all. I tried to avoid being natural. I lowered my voice. I copied the mannerisms of other stars. I struck poses. I received bad advice - from dramatic coaches, from agents, and from studio executives. I stopped being a human being. I blame myself and I blame Hollywood's star system.

Those who say that Serena isn't serious about tennis; she wants to go Hollywood. That's true, about Hollywood. I would love to get a lot of acting gigs. But you wouldn't believe the stuff I've turned down because of my tournament schedule...I would do well beside (comedian) Chris Tucker.

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.

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.'

Hollywood was not a place I dreamed of getting to. I never could take seriously the obsession people have about being a celebrity or getting to Hollywood - I was born next door.

I've never had help from anyone, ever. I've never had this great director who saw themselves in me, because I'm a French woman in Hollywood. Who could identify with me as a successful director in Hollywood? Nobody. And the few people who could have been mentors, instead they just stole my ideas.

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.

I've always been proud of my body, my Jewish nose and all of that. Hollywood's Hollywood, but that's not going to change.

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.

If I was American, I think I'd live in New York, because I like that East Coast mentality. There's nothing wrong with Hollywood. If you want to be a big time filmmaker, you should go to Hollywood.

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.

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.

If women ran Hollywood, The Hollywood Reporter would have a "Men in Entertainment" issue every year, and those jerks would have to write something.

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

For whatever reason, that dream I had of going to Hollywood never went away. But when I got to LA at just 19 years of age, my faith was the foundation that gave me the confidence that I needed to believe that it would all work out and was a reason for the open and closed doors. Today, my faith is the center of my career.

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.

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.

I was very lucky because Tim Burton really gave me a career. I don't think Hollywood would've known what to do with me. If I hadn't done 'Beetlejuice,' I think I would've just gone back to my school.

There's not really much destruction in New York besides the weather and it's a natural force so it's not like any destruction. But LA gets leveled (laughs). That's my comment to Hollywood.

Hollywood gave us far more Muslim terrorists in the Eighties and Nineties than it has since 9/11.

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.

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 thinnest I've ever been was after I had my appendix out, during the London run of The Seagull. I went down to 112 pounds and realized my brain doesn't work when I'm that thin, so I can't do my job. That's why, when I came out here, I never had that whole Hollywood pressure thing. I never said I wanted to be a lead actress; I never said I wanted to be a film actress. This need to trump everyone bewilders me. I'm only 25. I'm not better than anyone. I just want to watch other people and learn to be good.

You know, Hollywood sometimes tends to patronize the interior of the United States. As Horton Foote used to say, the great Texas playwright, that a lot of people from New York don't know what goes on beyond the South Jersey Shore.

I sort of became infatuated with soldiers. I got to know some of them and got a little perturbed with Hollywood making a spectacle out of them and making them look like they have screwed up somehow.

Hollywood called me, asking me, "How much to do a movie with Farrah Fawcett?" "$50,000" They called back, "How about $20,000?" I said, "I'll pay it!"

The Hollywood Foreign Press have just given me a time out from my 20-year midlife crisis. My heartfelt thanks to them.

We are increasingly offered a diet [by Hollywood] in which sensation, not story, is king.

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.

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

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.

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 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 grew up with a lot of Hollywood films. Cozy farm houses, cowboys, nice flats in New York. Especially as a kid, those things have a huge impression on you.

I'd like to refocus everyone's attention away from the Kardashians and onto Doctors Without Borders or aid workers. Let's redefine scandal. Scandal is not who so-and-so is dating; scandal is the fact that 1.2 million people are still living in tents in Haiti, and cholera is rampant because Nepalese U.N. soldiers dumped s- from their Porta-Potties into the river. That's a f-ing scandal. If the average 15-year-old was hearing about that instead of so-and-so's plastic surgery or cheating in Hollywood, I'd feel better about our future.

Calvin: Trick or treat! Adult: Where's your costume? What are you supposed to be? Calvin: I'm yet another resource-consuming kid in an overpopulated planet, raised to an alarming extent by Madison Avenue and Hollywood, poised with my cynical and alienated peers to take over the world when you're old and weak... Am I scary, or what?

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

The problem with Hollywood is that nobody works. They have meals. They go to Pilates. But it's not enough. So they do drugs. If everybody had a pile of rocks in their backyard and spent every day moving them from one side of the yard to the other, it would be a much happier place.

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

I think the form, the Hollywood movie, I think the quality is obviously always going to be there and I think that the question of taste, there's always a question of taste.

As much as my parents are part of Hollywood, I have no recollection of them giving me advice about it.

Hollywood's just not funny.

In Hollywood gratitude is Public Enemy Number One.

I was just excited by the whole prospect of working in a television series in Hollywood. I had never anticipated that as an actor I would ever end up here. It may be some sort of fantasy I'd thought about from time to time, but it was completely unrealistic.

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

I came in on the tail end of the old school of Hollywood

Given the choice of Hollywood or poking steel pins in my eyes, I'd prefer steel pins.

I think Hollywood has always, you know, there's always been glamour associated to it. And especially in the last ten years there has been a growing sort of obsession with celebrity life and celebrity culture.