Hollywood Films Quotes

I am not going to do a film based on a bad scenario just to make a big Hollywood film or work with Hollywood stars.

I do like musical films more than big Hollywood films, especially those by Jacques Demi and Vincent Minelli.

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 will only do a Hollywood film when there is something special offered to me.

I've met big-name actors doing Hollywood films, and they've said that all they want is an in at HBO and their own show.

Well, I was getting a lot of money then, and I wasn't getting any Hollywood films, so I just did those. I'd always do a play in between. Whenever I ran low on funds, I'd always rush off to do a movie somewhere.

I saw a very good Hollywood film the other day. It was about Cole Porter.

It's a fact, the majority of films in Hollywood are from the male perspective. And the female characters, very rarely do they get to speak to another female character in a movie, and when they do it's usually about a guy, not anything else. So they're very male-centric, Hollywood films, in general. So I think it's incredible that Ned Benson, when I said I'd love to know where she goes, says okay, I'm going to write another film from the female perspective.

But it's a strange thing when people judge you because you're not doing some big Hollywood film. Are you suggesting I should be in The Dukes of Hazzard? I mean, hello?

Well, I don't think Hollywood's a dirty word at all, I love a lot of Hollywood films.

I'm not saying that it's wrong to make huge Hollywood films but it's just a different kind of feeling, a different sort of pleasure.

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.

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.

I think a lot of African-American kids don't have fathers to teach them how to dress, so you end up being taught by pictures in magazine and movies. You see cowboys, Indians, old Hollywood films, Cary Grant. It has an effect on you.

I studied cinema at the university so I had a very classical approach to it. I studied all those silent films, and then the films from the 1940's, the Nouvelle Vague, the late Hollywood films. Now I realize, as a young actor, that it's one of my duties to actually be aware of what is today's industry and today's next big directors.

Hollywood films have become a cesspool of formula and it's up to us to try to change it... I feel like a preacher! But it's really true. I feel personally responsible for the future of American cinema. Me personally.

I have friends who are leading men, and they're only ever allowed to play leading men of a certain type. But as a character actor, there's a wider variety of projects available. On the big Hollywood films, all they care about is having their lead in place, so it's actually easier for someone like me to slip in. And I'm happy to do so.

I very much enjoy my freedom creatively but I also would love to make one of those big Hollywood films that costs a lot of money and has a lot of people running around with cell phones and all that insanity.

A few of my books, over the years, have been optioned for film. The subject matter of my books, however, is not exactly conducive to Hollywood film treatment. If and when a 'big-budget' film is ever made based on one of my books, my fans and I will more than likely loathe it because it won't be true to its source. That's almost a given.

As far as film goes, I enjoy all Hollywood films and all Horror films like The Bride of Frankenstein, which also might be my favorite. I like 60's and 70's Italian and Spanish Horror films.

[Steven Spielberg's films] are comforting, they always give you answers and I don't think they're very clever answers. The success of most Hollywood films these days is down to fact that they're comforting. They tie things up in nice little bows and give you answers, even if the answers are stupid, you go home and you don't have to think about it. The great filmmakers make you go home and think about it.

I think there is an immense charm and humanity about the Bollywood structure, probably in the way there was about Hollywood film in the '30s and '40s. Somehow they were less distracted about hardware, and more about production values and people, you know?

Making a Hollywood film you don't have a very big movie because they have a Safety Captain and insurance people on the set. They have to check first. 'Don't do it. Let me check. Make sure everything is safe.'

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

To be honest, you have to do a big Hollywood film to get enough money to do a good independent film!

I don't get that many scripts. Back in Australia, I've pretty much done my own shows and really no work outside of that. It's only now that I'm starting to read some Hollywood film scripts, and I've read some really great ones.

I was inspired by Maya Deren because she was the first woman filmmaker whose films I saw. I also loved Fellini and Goddard because they were so different from Hollywood films. But when I saw the cinema verite films that were made by Drew Associates with Leacock and Pennebaker I found my passion.

The average Hollywood film star's ambition is to be admired by an American, courted by an Italian, married to an Englishman and have a French boyfriend.

A boy's best friend is his mother.

To say "I accept" in an age like our own is to say that you accept concentration-camps, rubber truncheons, Hitler, Stalin, bombs, aeroplanes, tinned food, machine guns, putsches, purges, slogans, Bedaux belts, gas-masks, submarines, spies, provocateurs, press-censorship, secret prisons, aspirins, Hollywood films and political murder.

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 problem for independent filmmakers is that huge companies control all the promotion, all the advertising. Hollywood films' advertising budgets are as large as their shooting budgets.

Even though I've done Hollywood films, I still don't think of myself as a Hollywood actress.

Keep your friends close, but your enemies closer.

You can't handle the truth!

Mrs. Robinson, you're trying to seduce me... aren't you?

Gentlemen, you can't fight in here! This is the War Room.

I am big. It's the pictures that got small.

Avant-garde means never having to say you're sorry.

Vasectomy means never having to say you're sorry.

For the taxable investor, indexing means never having to say you're sorry.

After all, tomorrow is another day.

You're gonna need a bigger boat.

May the Force be with you.

I'll make him an offer he can't refuse.

I'm going to make him an offer he can't refuse.

Carpe diem. (Seize the day.)

My momma always said, "Life was like a box of chocolates. You never know what you're gonna get."

Being an American means never having to say you're sorry.

Frankly, my dear, I don't give a damn.