I make my pictures for what Hollywood spends on lipstick.
When I photographed Marilyn Monroe, I mixed up my cameras - one had black-and-white film, the other color. I took many pictures. Only two color ones came out all right. My favorite picture of Marilyn hangs always on the wall in my office. It was taken on the little patio of her Hollywood house.
For me, it’s not about breaking big in Hollywood, but having interesting experiences.
If you go to Hollywood, you've already sold out.
What's the difference between Hollywood characters and my characters? Mine are real.
The zero-sum world [the movie The Social Network] portrayed has nothing in common with the Silicon Valley I know, but I suspect it's a pretty accurate portrayal of the dysfunctional relationships that dominate Hollywood.
We cannot escape that Hollywood is in the middle of a wave of technological change. The current angst over all the implications of new entertainment technology is nothing new.
WHAT is America but beauty queens, millionaires, stupid records and Hollywood?
I teach at USC. I have a big class of 360 kids, only about a fifth of whom are film majors. I don't just show the Hollywood blockbusters. I show independent films, foreign films, documentaries.
If it isn’t for the writing, we’ve got nothing. Writers are the most important people in Hollywood. And we must never let them know it.
Hollywood is much more than America. Hollywood belongs to all of the planet.
Sure, I watched a lot of Hollywood movies. Maybe I've seen more Hollywood movies than French movies
To be robbed and betrayed by a fiendish underground conspiracy, or by the earthly agents of Satan, is at least a romantic sort of plight - it suggests at least a grand Hollywood-ready confrontation between good and evil - but to be coldly ripped off over and over again by a bunch of bloodless, second-rate schmoes, schmoes you chose, you elected, is not something anyone will take much pleasure in bragging about.
Michael Moore became an industry hero and the most visible symbol of the Hollywood left.
Hollywood films are alienating to the spectator because they use too much dialogue, too much explication and leave no space for the viewer. They depress me. I use direct sound, mono not stereo. Just direct sound, so for every shot there are only two sources. Sound creates an intimate effect: the sensation to feel the place. It makes the viewer enter. You have the liberty to hear what you want.
Everything was in stark and dreadful contrast with the trivial crises and counterfeit emotions of Hollywood, and I returned to England deeply moved and emotionally worn out.
I think the true test of a pop song, for me, and I've talked to a lot of other writers about this, is you take your demo, you pop it in your car and you drive down Sunset Blvd. to Santa Monica, and that's the Hollywood car test.
I wanted to make the kind of records that I heard in the discos that I danced in at that time. Funky, electronic sounds, while the musicians in the band were more rock oriented. This I suppose created the sound we know as Frankie Goes To Hollywood.
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.
Washington and Hollywood spring from the same DNA.
And then I went into television; and then television moved from the East Coast to Hollywood.
I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.
There's something uniquely aggravating about the smugness of liberal Hollywood.
We are increasingly offered a diet [by Hollywood] in which sensation, not story, is king.
You know, I had my mother and my father convincing me that he would be going back to Hollywood and he'd be back with the actresses and dating them and that he wasn't serious about me at all. So I had him saying one thing to me and my parents telling me something else.
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