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Hollywood Quotes

“I don't know what the misconceptions are, but I approach a small budget, artsy, independent movie in the same way as a big budget, commercial Hollywood movie. I don't get into those [details]. I have to get into my character and I concentrate on that, on the story, on researching, and on certain training if I have to be prepared physically. I think that's the most important thing.”

“The irony is I did an intimate film in France with no stars and that got me to Hollywood. It got me to the Oscars. If I had tried to imitate the Americans or the Hollywood movies with a commercial recipe, I'd never have gotten to Hollywood. Although, it was not my goal in any way, and I never thought there was any connection between Monsieur Lazhar and the Oscars.”

“I've always hate child stars, starting from way back when, when I was a child. The first child star I saw was Shirley Temple. She was six years old, two foot six and the biggest star in Hollywood. She wore ribbons in her hair, and frilly little pinafores and shiny patent-leather tap shoes - just like the boys in Glee do.”

“When people think about this religion, they'll say "voodoo" this and "voodoo" that in the way the Hollywood movies show it: the sticking of pins in dolls. It's very different than Vodou - which is a religion that comes to Haiti from our ancestors in Africa. I want to differentiate it from the stereotypical, sensationalized view that we see of the religion.”

“In my mind what novels do best is that they immerse us deeply into our character's world - they truly transport us deep into these spaces - but the same way you know a Hollywood movie won't end after thirty minutes, you carry in yourself the implicit contract that the novel won't throw you out of itself 'til the very end. That bulk of pages is a form of consolation, of security.”

“By the time I was seventeen, I was on my way to Hollywood and didn't look back. My family is supportive now, but like any adult guardian of a seventeen-year-old daughter, they were not thrilled with my plan to run off to the LA to make it as an actress. Even a somewhat functioning parent would think that was a bad, bad idea. Lucky for me, I didn't listen to them.”

“There still aren't enough[ roles for women of color]. And I'd say that's the case, not only for African-American women, but for all women in the Hollywood game. It's just slim pickings, and a very challenging time for us. I think that's why more of us need to work our way behind the camera in order to create roles that really illuminate who women are. We still have room for growth in that area, without a doubt.”

“The idea for Anthem the play began over twenty years ago. I was assisting in the production of another Ayn Rand work, Ideal. I moved to New York and began working on producing the play with my partners. And as a way to raise money to cover some venture debt, we decided to stage Anthem for a limited run at the Lex Theatre in Hollywood.”

“In the 1930s there was this tendency in Hollywood to portray everyone as rich. Even if they were doing a poor man's dance, they were all so nicely clothed, gowned, coiffured. That's why I decided to wear white socks, loafers, T-shirts, and blue jeans. I had a sociopolitical context in front of me: I was a child of the Depression who danced in a way that would represent the common man.”

“I don't think it's necessarily 100-percent true. But comic books have infiltrated the mainstream Hollywood in ways that I don't think I ever would have seen or thought imaginable a while ago. But it's also cyclical. You saw it in the '80s when it became kind of huge again. And then it disappears for a while, then it comes back again, then it disappears for a while. So yeah, there's something about that.”

“The traditional model for a company like Coca-Cola is to hire one big advertising agency and essentially outsource all of its creativity in that area. But Coca-Cola does not do it that way. It knows how to manage creative people and creative teams and it has been quite adept at building a network that includes the Creative Artists Agency in Hollywood, which is a talent agency.”

“This is true in other fields, too, that a legal aid lawyer gets a whole lot less money than a Hollywood lawyer who handles the estates of celebrities. Maybe the legal aid lawyer is doing something better, though, and maybe they're happier. It's not a completely unheard of idea, but I do think we have to remind ourselves at times to look for satisfaction in other ways.”

“I've always said that to make movies, to make images and sound, is possible by one way or another. And it has not to be ruled by the Pharaohs of Egypt, the Pharaohs from Hollywood or wherever. I have tried very hard to make even a small budget picture here. It always fails. Over a dozen times. And now I know why. It was only because I wanted to be in control of the money. To spend it the way I wanted.”

“For me, I've never been too concerned of what people think of me, so now as the youngest Baldwin brother in Hollywood making movies while simultaneously being a charismatic evangelical born again Christian who's an evangelist - that's a pretty crazy combination. But early on in my walk of faith I said a very personal prayer and made a commitment to God. I said if you reveal yourself to me in a way that is more thrilling and powerful and exciting than anything I've experience thus far, then I'll go anywhere and do whatever you want. And that can be very tough.”

“I've been working in Hollywood for a long time now in many different aspects in front of the camera, behind the camera, and I've worked with top executives, presidents of networks. I've worked all around. I see energy and what's around these studios and a lot of these offices. You don't get the high positions in these companies if you don't take advantage of other people in some way. I've seen that around. I've seen that around the studios, whether it's producers or whoever. Egos are there. Greed.”

“There's been an amazing backlash for the last decade in America: political correctness. In many ways, I think that, while we've been remarkably violent in our media, there's been a real schizophrenia. In private, on the Internet, and on public-affairs shows or talk radio, we're way more explicit than we've ever been. But traditional Hollywood has been much more frightened than it ever was in the '70s about presenting things that could be perceived as politically incorrect.”

“I believe that a writer learns from every story he writes, and when you try different things, you learn different lessons. Working with other writers, as in Hollywood or in a shared world series, will also strengthen your skills, by exposing you to new ways of seeing the work, and different approaches to certain creative challenges.”