Quotes of All Topics . Occasions . Authors
I didn't need a harassment scandal to break out in Hollywood or misogynistic people in government to know they exist. Anybody who's a woman, a minority, or a thinking, perceiving male can see that it exists.
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.
The only one that I have to go and see is Brooklyn. I was surprised to see it get the best picture nod, but Saorise Ronan, she's very mesmerizing; she has probably the most piercing set of eyes in Hollywood.
Actually I don't watch a lot of films but when I do, I like experimental, avant garde, European and world cinema. That is the language of cinema I am drawn towards. I don't watch much Hollywood or Bollywood.
When I was seven, I wanted to be Esther Williams. I was drummed out of Brownies because I snuck off to the cinema to watch an Esther Williams festival - my greatest wish if I get to Hollywood is to meet her.
I learned that getting a movie made in Hollywood is a near impossibility, and the process can be a wild adventure. TV is a lot more consistently productive - no offense to the beautiful world of feature film.
Being a Chicano in Hollywood, my experience is that you're not given credit for any sophistication... You're just kind of some guy that just crossed the border, you know, on the back of a truck and that's it.
A financial shift happened with 'Facing the Giants' and 'Fireproof,' where movies that were faith-based films were profitable. And people in Hollywood - like people in downtown U.S.A. - are out to make money.
I have seen Hollywood artistes like Al Pacino, Tom Cruise and Tim Burton doing theatre and Broadway shows. Cinema actors tend to go back to theatre because it gives them an opportunity to reinvent themselves.
Though I soon became typecast in Hollywood as a gangster and hoodlum, I was originally a dancer, an Irish hoofer, trained in vaudeville tap dance. I always leapt at the opportunity to dance in films later on.
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.
Unfortunately, many talented people in Hollywood find their values and politics do not reflect the content they create, and many movie themes are in direct contrast with over half of todays American families.
My muses were all the incredible, iconic women of glamour in Hollywood that I have worked with over 15 years. Anjelica Huston, Michelle Pfeiffer, Gwyneth Paltrow, Lena Dunham, Viola Davis, Rihanna, Demi Moore.
I used to think as I looked out on the Hollywood night, 'There must be thousands of girls sitting alone like me dreaming of being a movie star.' But I'm not going to worry about them. I'm dreaming the hardest.
I was in the wilderness of Hollywood for almost ten years. I was off the studio lists. I wasn't getting the roles offered to actors that hadn't done a third of the roles I had done or had the popularity I had.
Hollywood has its Oscars. Television has its Emmys. Broadway has its Tonys. And advertising has its Clios. And its Andys, Addys, Effies and Obies. And 117 other assorted awards. And those are just the big ones.
Prior to 'Tokyo Drift,' the iconic perception of Asians in Hollywood films has been either the Kung Fu guy, the Yakuza guy or some technical genius. It used to be such a joke, to be laughed at rather than with.
If two percent of all the films made in Hollywood are really artistically worthy - and I think it's a lot more than two percent - that's a pretty big percentage of things that will outlive their own generation.
I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.
The turning point in my career was Jaws. It was a turning point because I was a director-for-hire before Jaws and because it was such a big hit I could do any movie I wanted and Hollywood just wrote me a cheque.
The whole idea of doing the Hollywood thing never even occurred to me. When you grow up on the East coast, Hollywood seems like this fantasy land and you don't think that people can actually make a living there.
I don’t really like the Hollywood blockbuster bandwagon that exists right now. The industry and the advent of all the technology, has kind of lost its way. It’s become very franchise driven and superhero driven.
The plain truth is, 'Fruitvale Station' was made totally outside the Hollywood studio system, and every ounce of the picture feels authentic. The lives of the people involved in the movie will never be the same.
I want to abolish tags like 'comeback' and 'retirement' that are used to define every married female actor. What is the big deal? In Hollywood, every top actor takes a break, has children, and gets back to work.
You know Hollywood is a weird and wonderful place, I didn't know I Dream of Jeanie had been cancelled after 5 years until I went back to go on the lot to pick up some clothes and things I had in my dressing room.
All television ever did was shrink the demand for ordinary movies. The demand for extraordinary movies increased. If any one thing is wrong with the movie industry today, it is the unrelenting effort to astonish.
The Big Sleep' is an unsentimental, surrealist excitement in which most of the men in Hollywood's underworld are murdered and most of the women go for an honest but not unwilling private sleuth (Humphrey Bogart).
When I was 14 -years-old, I made this PowerPoint presentation, and I invited my parents into my room and gave them popcorn. It was called 'Project Hollywood 2004' and it worked. I moved to L.A. in January of 2004.
I've learned by hanging out in Hollywood, where I disagree politically with most people, that most people's hearts are in the right place, and the only thing we have to argue about is the way to solve the problems
'The Big Sleep' is an unsentimental, surrealist excitement in which most of the men in Hollywood's underworld are murdered and most of the women go for an honest but not unwilling private sleuth (Humphrey Bogart).
If you're just an actor you're reactive. You're saying, "Well, I hope Hollywood gives me a role, or gives me a chance at a role," whereas if you can generate your own content, then you can go where you want to go.
Luckily, I was raised by people who'd already seen all the yuck stuff, which is why they originally didn't want me to act. I understood the difference between getting a part at a Hollywood party and getting a job.
My attitude about Hollywood is that I wouldn't walk across the street to pull one of those executives out of the snow if he was bleeding to death. Not unless I was paid for it. None of them ever did me any favors.
The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.
Being a conservative union member is almost like being an actor in Hollywood: You don't dare say it, or you might be injured on the job, or you might be laid off, or your family might have something happen to them.
So much of the world is being brought up on these stories that Hollywood is coming up with and exporting all over. They have so much power and influence, so it's really important that they represent women properly.
I knew that I wanted to create a restaurant like Hard Rock Cafe or Planet Hollywood that celebrated not just music or Hollywood, but who we were as people of color, as Caribbean, African, Cajun and Southern people.
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.
My first job in Hollywood was as a PA in the writers room of 'Dawson's Creek,' and from that early experience on, I've always had an intense appreciation for the energy, creativity and process of making television.
I've learned by hanging out in Hollywood, where I disagree politically with most people, that most people's hearts are in the right place, and the only thing we have to argue about is the way to solve the problems.
My first in, my first break, was I met a director and got to talking with her, and she happened to be casting this movie that she had written. That was ten years ago. That got me to Hollywood. I got paid $700 bucks.
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.
I wanted to re-examine stories people think they know without the rose-colored glasses of Hollywood and let the audience decide for themselves if people like Wyatt Earp were sinners or victims of life circumstances.
A lot of people in Hollywood, and everywhere pretty much, operate on fear. No one wants to get fired, so everyone's scared to take a chance. There's money involved, and there are careers and reputations on the line.
As a comic, it's anti-comedy to be known. I think a lot of comedic actors get lost in this world of Hollywood and all this stuff. They lose what brought them there in the first place. I'm very trepidatious about it.
Hollywood's a big place, and they make all sorts of different movies. Some movies I'm attracted to; a lot of the movies I'm not. But there are some terrifically talented people over there that I'd love to work with.
The first time I ever intersected with the quote unquote industry or Hollywood or being given a paid job as a director all came because of the reputation I got coming out of Sundance as a veteran Sundance filmmaker.
Lampoon ran out of steam in the early '80s, and wasn't able to reinvent itself because it ran out of talent. People who wanted to do this kind of stuff could suddenly make $100,000 in Hollywood right out of college.
I really like writing heroes who aren't necessarily 'Hollywood handsome.' Personally, I think men who are self-confident, intelligent, and funny are outrageously attractive - and my heroines tend to think that, too!
When you're dealing with Hollywood people, it creates a tight, tense atmosphere through the whole thing. And I don't like to work in that kind of atmosphere. I like to make my movies in a kind of relaxed atmosphere.