There are a lot of things I never did, because I believe in watching those true Hollywood stories and I see how easy it is to lose track of your life.
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.
Just because a man is dressed in a clean white robe does not mean his heart and hands are clean. Any man who neglects his conscience is a dangerous animal. Never judge a man by his image. Images can be bought or produced by any Hollywood producer, marketing team or fleet of stylists. Even kids know how to wear amazing costumes for Halloween. Always judge a man by the coloring of his heart and only his heart. Truth can be found in his record of actions, not intentions.
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.
A large part of the people in Hollywood are sheep - and I don't say that unkindly, I say that politically - if Spielberg and Streisand and Geffen and the others were Republicans tomorrow, you would see a shortage of paper to try and change registrations.
But, I've made films in Japan, in Yugoslavia, all over Europe, all over the United States, Mexico, but not Hollywood.
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.
Because Chicago was to radio what Hollywood was to films and Broadway was to the theatre: it was the hub of radio.
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.
At early previews, the theater gossips are there, wishing you ill every night. They don't grant you any slack. Agents are in from Hollywood. Your friends are there. People who are going to spread the word-of-mouth. If something doesn't work, everyone will know.
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.
I was attracted to the concept of Hollywood and the lifestyle here. But I've grown to mistrust it because it has changed. I didn't bargain for digital access parking in some concrete structure. Real heaven for me was to drive somewhere and park right in front. Now the city is going vertical.
Hollywood no longer depicts reporters in ruthless pursuit of criminals, high and low. Now they are the criminals.
If this were a [Hollywood] studio film, I wouldn't have pushed my father into a table, I would have beat him up. My father wouldn't have kissed my girlfriend; he would have raped her.
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.
I do not make films which are prescriptive, and I do not make films that are conclusive. You do not walk out of my films with a clear feeling about what is right and wrong. They're ambivalent. You walk away with work to do. My films are a sort of investigation. They ask questions . . .. Sometimes I hear that some [Hollywood] studio is interested in me. Then they discover that this is the guy who works with no script, that there is no casting discussion, no interference, that I have the final cut, and that does it.
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