Hollywood can't stand heroes who aren't sympathetic.
Many hated 'Selma.' Just because my voice and the voice of the people I come from is antithetical to so much of what Hollywood produces. I don't think what I'm saying is in particular radical or anything; it's just different from what they want to sell.
Hollywood is an idea. It's not a real place.
They are just really stupid people in Hollywood. You write them a script, and they say they love it, they absolutely love it. Then they say, 'But doesn't it need a small dog, and an Eskimo, and shouldn't it be set in New Guinea?' And you say, 'But it is a sophisticated romantic comedy set in Paris.'
The sexism in Hollywood is not particularly overt - because the system is good at hiding it.
I have a theory that most people in Hollywood are from Texas.
Hollywood has to be a better reflection of the world we live in.
'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).
Most of the offers I get from Hollywood are for teen comedies. My manager thinks I'm crazy for turning down all that money, but I'm very picky.
It takes time for brown people and people of different ethnicities to get into the Hollywood world, which is predominantly Caucasian and African American.
I think I was quite difficult to cast when I was in my twenties because I never looked like Cameron Diaz. I'm not talking myself down, but I was never going to be the romantic lead in a Hollywood blockbuster. You need better cheekbones and longer legs.
Sometimes Hollywood manages to knock a movie in its teeth so hard that it never manages to get back up.
Hollywood always likes to create a star.
Hollywood's not knocking on our door. They're banging down the door with a sledgehammer.
'Scream' was the first thing he'd ever written that had gotten made, and I'd been in Hollywood for less than two years.
When I think about old Hollywood and the glamour of those days, women like Grace Kelly, Marilyn Monroe, and Audrey Hepburn were not dressing the way some girls dress today. There was a certain mystery about them, and I feel like that's gone in our industry.
One of the big moments of my life was watching 'Star Wars' on its opening weekend in Hollywood. I was watching all these people enjoy this film, and I thought: animation can do this.
They go on about banning size zero, but I think Hollywood stars are the worst perpetrators. Most models are naturally long and gangly, while a lot of these young girls in Hollywood have gone on extreme diets. Their concave chests and bony arms are terrifying. It's scary to think that normal teenagers are tempted to copy them.
I've always hated the way Hollywood has portrayed accountants. They're always little nerd balls, wimpy, afraid of everything. Growing up with accountants, I don't see them that way.
I had two different kind of parents. My mother was obsessive with movie stars and cinema and Hollywood because she worked in movies. And my father was obsessed with beauty everywhere - in art, in nature, animals.
I think that Christians who have an interest in filmmaking need to deepen their love for cinema. To be honest, that's what I think has been missing historically from the Christians who want to succeed in the Hollywood industry.
I had a friend in high school who badly wanted to make movies and would recruit me as an actor. It was always so much fun. I decided, I'm going to go to Hollywood and make movies, which is a thought I'd never had before.
When I was first starting out was also when I first started really paying attention to the Oscars and stuff like that. And I remember thinking, 'Wow, everything is great for women in Hollywood, because Meryl Streep, Glenn Close, Jessica Lange, Sally Field - they're all doing incredible work.'
Historically, Hollywood comedy has arrived in skinny envelopes. From fence post Buster Keaton to herky-jerky Jerry Lewis to wiry nerve-bundle Woody Allen to hung-loose Richard Pryor to whippy contortionist Jim Carrey, its comics and clowns have tended to be sliced thin and bendable.
How did I get to Hollywood? By train.
When they were making black films in the '60s and the '70s, everyone knew their place, if you get my drift. You understand? Everyone knew the rules, and everyone knew their place. Everyone knew what to say. They had the written rules in Hollywood film, and the unwritten rules.
I felt very alone in Hollywood.
From the moment I got to Hollywood, I've always felt like I never really got to do what I wanted to do. In general, artists feel that you're never really allowed to accomplish what you would like to accomplish because there's just so much of this system that gets in the way; the business gets in the way of the art.
The fashion I've acquired over the years is so sacred to me - from costumes to couture, high fashion to punk wear I've collected from my secret international hot spots. I keep everything in an enormous archive in Hollywood.
The dominant theory coming out of Hollywood is that peoples' attention spans are getting shorter and shorter and they need more stimulation.
That's the way this business works: if your movies do well at the box office, you will be offered more movies. It doesn't matter if you're a nice guy or you're a prick. If your movies do well, there's a job waiting for you in Hollywood. It's not any more complicated than that.
I guess I did get to tick a big one off the bucket list, though, and that was being on a giant billboard smack-bang in the hub of Hollywood Boulevard. That was... well, pretty Hollywood.
I began to think, now is the time. I found quite a lot of opposition in Hollywood about the idea of doing a film musical and we ended up having to buy the rights back. I'm glad we did because it meant John and I were able to make exactly the movie we wanted.
Providing 'freemium' cloud storage to society is not a crime. What will Hollywood do when smartphones and tablets can wirelessly transfer a movie file within milliseconds?
People have this impression that once you move to America, that becomes your interest. But I never moved to Los Angeles; I stayed in New York because I do theatre, so my aim is not just Hollywood.
Life's too short when you find yourself sitting in a car for four hours every day trying to get from East L.A. to West L.A. to Hollywood and then back to East L.A.
