Quotes About Hollywood

I'm not ready to pack my bags and leave the town and my business that I love and my kids that I love more than anything and pack them up and come to Hollywood. I love California. I love Hollywood. But I'm not ready to uproot what I believe in to come to Hollywood.

Being from New York, there's three things you know about Hollywood. You know about the Hollywood sign, Sunset Strip and Hollywood Boulevard with the stars.

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.

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.

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.

Hollywood is a showman's paradise. But showmen make nothing; they exploit what someone else has made. The publisher and the play producer are showmen too; but they exploit what is already made. The showmen of Hollywood control the making - and thereby degrade it. For the basic art of motion pictures is the screenplay; it is fundamental, without it there is nothing. Everything derives from the screenplay, and most of that which derives is an applied skill which, however adept, is artistically not in the same class with the creation of a screenplay.

I loved acting as a kid because I was kind of shy, so it brought me out of myself. Acting for kids is like playing house, you know? But growing up in Hollywood, it just made it seem possible. It wasn't like some idea of going to Hollywood; it was in my backyard. I lived two blocks from Grauman's Chinese Theatre growing up. It was what people did. It's an industry town. So it wasn't some far-off fantasy, it was like "Oh yeah, when you grow up, you do this because that's what people do here."

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.

Sure, I watched a lot of Hollywood movies. Maybe I've seen more Hollywood movies than French movies

The difference between working on Asian and American films is in the producer and director; everyone has their own style. But, Hollywood has a lot more money; they can spend a lot on films, and time. In Europe, there's a small budget and thinking about commercial. Only budget and taste is different between there and Hollywood.

I've been fortunate to have had the life I had prior to Hollywood. I wasn't starving, I was going to eat the next day. I came to Hollywood wanting a career that had longevity, and I wasn't afraid to take risks because I had a dollar in the bank. I wasn't driven by money as much as I was driven by making a successful transition. And I was smart enough to know that I certainly didn't have all the answers and I needed to surround myself with smart people and be willing to take risks and be willing to fail.

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.

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.

Hollywood always represents this big dream and fairy tale in people's minds, but to me, it's just hard work. Of course, we play fairy tale on the red carpet. It's all Cinderella. But when the clock strikes midnight, I turn into a gray mouse and I go home, and I take my dress off and it's over. That's Hollywood.

I'm not going to say I'm a big girl. I'm a very small person, but I'm a healthy weight. That might be a little weird for Hollywood.

A big, sweeping, and rapturous Hollywood love story that could turn out to be the most revolutionary movie of the year! A film in which love feels almost as if it were being invented. It is also a rare crowd-pleaser with the potential to change hearts and minds.

I also wonder why is it that so many of the movies and books that are detective stories are also the most aesthetically interesting? From Hollywood noirs to horror movies like The Shining [1980].

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

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

There are challenges as far as underfunding in various parts of the city. But spirit and sense of community is so much stronger in the places we've been. In Hollywood and Beverly Hills for example, people stay to themselves and live away from others in their gated communities. Despite being a native West Angelino, I had never really felt a strong sense of community until "South Of Wilshire". I now feel it because of the show.

It's somehow symbolic of Hollywood that Tara was just a facade, with no rooms inside.

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.

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!"

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

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

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

After two years in Washington, I often long for the realism and sincerity of Hollywood.

I'm not a city kind of guy. I'm happiest when I'm tromping through the woods. That's why I don't live in Los Angeles. Being physically away from Hollywood probably loses me a few jobs, but the best ones seek me out.

At the Academy Award Dinners all the actors and actresses in Hollywood gather around to see what someone else thinks about their acting besides their press agents.

Hollywood parties not only confuse me, but they often disillusion me. The disillusion comes when I meet a movie star I’ve been admiring since childhood. I always thought that movie stars were exciting and talented people full of special personality. Meeting one of them at a party I discover usually that he (or she) is colorless and even frightened. I’ve often stood silent at a party for hours listening to my movie idols turn into dull and little people.

I was inspired by Maya Deren because she was the first woman filmmaker whose films I saw. I also loved Fellini and Goddard because they were so different from Hollywood films. But when I saw the cinema verite films that were made by Drew Associates with Leacock and Pennebaker I found my passion.

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.

You know, my hair is very upsetting to people, but it's upsetting on purpose. It is important to look old so that the young will not be afraid of dying. People don't like old women. We don't honor age in our society, and we certainly don't honor it in Hollywood.

There is a misperception, if you will, in critical response or even in Hollywood, that I can only do exaggerated characters. Or what they would call over-the-top performances. Well, this is completely false.

I don't think the Hollywood community is interested in what I can do. That's all right. I've never looked for a job in my life, and I'm not going to start now. I have plenty to keep me busy.

I've worked in almost every other place in Canada except Toronto, funny enough, where my husband's from. The first time I was here it was winter, and I got engaged. The second time I was here it was summer, and I was married. My family lives here, my stepson lives here, so it's a wonderful place. Everyone's very nice and hospitable, unlike Hollywood.

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

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.

We're in a very competitive industry, and sometimes the bigger Hollywood things are not so risk takey. I find myself mostly existing in this weirdo indie world, which I feel really comfortable being in. The thing that motivates me the most is to try to do something way different than the last thing that I did.

Hollywood is full of very liberal people, but it still has an infrastructure that needs to be broken.

I don't go to a lot of parties or do a lot of going out within, like, the Hollywood circle or celebrity-type circles and things like that.

I live in the Hollywood Hills. When I see a cop driving around there, I actually assume that he has my best interests at heart and that he has the best interests of my property at heart. I think if you'd go to Pasadena, they'd say the same thing. And I think if you knocked on doors in Glendale and asked them, they'd say the same thing.

And one thing Hollywood does well is sequels.

The wise screen writer is he who wears his second-best suit, artistically speaking, and doesn't take things too much to heart. He should have a touch of cynicism, but only a touch. The complete cynic is as useless to Hollywood as he is to himself. He should do the best he can without straining at it. He should be scrupulously honest about his work, but he should not expect scrupulous honesty in return. He won't get it. And when he has had enough, he should say goodbye with a smile, because for all he knows he may want to go back.

Hollywood is a place where people from Iowa mistake each other for stars.

If the White House could do more to tell parents that getting children reading is their business too, we'd see a big difference. Hollywood and the NBA or NFL could step in, too. In England they have an event called Book Day, where every child receives a pound to use at any bookstore.