Democrats love to criticize Republicans on guns, but they are generally mute when it comes to taking on Hollywood or the gaming industry.
Obviously we don't have 300 million people. We haven't got a big army. We don't have Hollywood. We're a medium small-sized country. We have to do what medium small-sized countries do, which-even though we're not smarter than other people-is to make ourselves seem to be smarter. We have to work harder and know more than other people.
That's not how most of Hollywood does it-which helps to explain why Pixar does so well. How are you changing the game in your field? What is your distinctive take on how your industry operates? Do you work as distinctively as you compete?
Whenever Hollywood gets involved with real life events, certain liberties have to be taken.
I started out as a very young girl in Hollywood doing westerns portraying a mother with a couple of kids.
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.
It's like everybody is obsessed with Hollywood movies worldwide. And even though everybody hates the Americans, they're still watching American movies.
Tarantino's stuff in its inception was all about finding a way for him to break into Hollywood.
I think for the last fifteen, twenty years or so, Hollywood has underestimated the appeal of the Western. I think there is still a huge market.
Hopefully I get to come back [to Israel] next year. It's really great to see the encouragement [from] my friends, especially within the Hollywood circle, for me to be an ambassador [for Israel]. Because I'm in love with Israel, and I know everyone else will if they just take the opportunity.
After working for years in Hollywood where the actors have taken over, it was a real relief to get down there and not only have some children, but also have some actors that had no attitude.
Yes. Otherwise I could have done a lot of Hollywood movies. After Crouching Tiger I got a lot of offers, but I turned them down because they were all victim roles - poor girls sold to America to be a wife or whatever. I know I have the ability to go deeper, to take on more original roles than that.
I think it's even harder because I think as always, Hollywood is sort of glamour central for the world, and the entire world looks to it for not only entertainment, but the whole idea of the youth factor and youth being sold to our culture via young actors and actresses.
Most Americans in both red and blue states reject and resent the message being sent by Hollywood and some in the media that values are subjective, to be defined by the individual and not by God.
Hollywood no longer depicts reporters in ruthless pursuit of criminals, high and low. Now they are the criminals.
You have more and more people coming into the tent with the creative guys [on Hollywood films]. You have marketing and concept testers, advertising people. What you find gets the high numbers is easily appealing subjects: a baby, a big broad joke, a high concept. Everything is tested. The effect is to lessen the gamble, but in fact you destroy a writer's confidence and creativity once so many people are invited into the tent.
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.
To many Congressmen and Senators right now, there's a ceaseless antagonism toward Hollywood because politically, it is high-reward and low-risk. So when you can't do anything about poverty or the budget deficit, and you can't deal with Bosnia or the possibility of nuclear explosions in Russia, what do you do? You bash Hollywood and get on the front pages.
[Hollywood] studios are handing out money to make independent films now, but they all want the same thing. They want the style and the deadpan delivery of RESERVOIR DOGS or FARGO and so they imitate those movies. They want PULP FICTION, but they get it all wrong! They get the detachment, but that's it. And then it's all about style, and in the end what do you learn about the characters? Nothing. You learn you wasted two hours.
One of the best lovers in Hollywood. What would a title like that encompass exactly? She wondered. Technique? Enthusiasm? Or was it more about equipment?
Those who count on quote 'Hollywood' for support need to understand that this industry is watching very carefully who's going to stand up for them when their job is at stake. Don't ask me to write a check for you when you think your job is at risk and then don't pay any attention to me when my job is at stake.
And I got a lot of friends in Hollywood.
Hollywood is owned by the Arabs.
The worst disgrace that can befall a producer is an unkind notice from a New York reviewer. When this happens, the producer becomes a pariah in Hollywood. He is shunned by his friends, thrown into bankruptcy, and like a Japanese electing hara-kiri, he commits suttee.
In Hollywood, the rainbow hits the ground for composers.
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