Hollywood Quotes Quotes

“La renommée est une arme à double tranchant: elle peut vous faire gagner en statut et en POPULARITÉ,
mais aussi vous faire perdre en motivation et en CRÉATIVITÉ.”
― Mouloud Benzadi

“Most of the Hollywood stars are pretty old and I never even heard of their names. Makes you think. These people were super famous back in the day. They were adored by millions of fans at one point. But nowadays nobody remembers who they were or what they did. Pretty sad. When even past superstars don't leave much of an impression on history, what chance do we regular folks have of being remembered after we die? None.”
― Oliver Markus Malloy, New York to Los Angeles Roadtrip

“Hollywood shines by virtue of light within.”
― Adrienne Posey

“Save your drama for a llama because Hollywood is miles and miles away!”
― Timothy Pina, Bullying Ben: How Benjamin Franklin Overcame Bullying

“Hollywood: A people with great personaality.”
― Brian Spellman, We have our difference in common 2.

“Michael Eisner observes that “Hollywood is a microcosm of the world. There’s a group of ethical people, serious, eager to work. Then there’s the underbelly, and the seedy part of that group, the people who supply the underbelly. There are the struggling runaways, the prostitutes—male and female—the dregs of the earth. The vultures. They take the low road. They may wear suits, be articulate…” He trails off.”
― James B. Stewart, Disney War

“The Sixth Sense was ultimately nominated for six Academy Awards. Completed at a cost of $35 million, it earned just under $300 million in the United States alone, the most successful live-action film in Disney’s history.

David Vogel, Disney’s President of Production (recently dismissed by Michael Eisner after purchasing The Sixth Sense without permission) had been right when he told Eisner that he’d left Disney with one of its biggest pictures. Vogel hadn’t found another job and had pretty much stopped looking. He had decided he no longer wanted to rely on the Machiavellian instincts he found necessary to continue as a movie executive. A few studio people called to congratulate him on the film’s enormous success, but he heard nothing from any of the top Disney executives, including Eisner, Roth, and Schneider. Of course, Vogel was one of the few people who knew that Disney had sold off both the foreign and domestic profits to Spyglass, and would earn only a 12.5 percent distribution fee. He wondered what Eisner thought now.”
― James B. Stewart, Disney War

“Like many junior executives, Dawn Steel served as punching bag/chum for her bosses. Once the marketing chief, Frank Mancuso, asked her to tell Steven Spielberg the release date of one of his movies; Spielberg immediately retorted, “Who are you to tell me when the release date is?”
― Rachel Abramowitz, Is That a Gun in Your Pocket?: Women's Experience of Power in Hollywood

“Robert Altman is an asshole.
That’s what producer Don Simpson, a friend of mine, thought:“We made Popeye (1980) and we hated Altman. He was a true fraud … he was full of gibberish and full of himself, a pompous, pretentious asshole.”
― Joe Eszterhas, The Devil's Guide to Hollywood: The Screenwriter as God!

“

Don Simpson was right about Robert Altman.
Screenwriter, Ring Lardner wrote M*A*S*H (1970) and director Altman praised his script in early interviews.
After the movie was a hit, Altman said that he had tossed out Lardner’s script and written it himself.
The movie’s producer, George Litto, said, “Bob was never one to acknowledge a writer’s contribution. The movie was ninety percent Ring Lardner’s script, but Bob started saying he improvised the movie. I said,* ‘Bob, Ring Lardner gave you the best opportunity you had in your whole life. Ring was blacklisted for years. What you’re doing is very unfair to him and you ought to stop it.’

”
― Joe Eszterhas, The Devil's Guide to Hollywood: The Screenwriter as God!

“United Artists had now begun a descent from the magical precedent-setting era of its rebirth in 1951 when Arthur Krim and Robert Benjamin acquired the company from Mary Pickford and Charlie Chaplin, to the sad-but-true cliché of a “Hollywood” operation typified by Mike Medavoy’s deceit.”
― David V. Picker, Musts, Maybes, and Nevers: A Book About The Movies

“According to 1st AD, Dennis Maguire, Roy made my job on A Nightmare on Elm Street Part 3 easier because I knew that he and I could get through a day with a difficult situation, with a crew that maybe didn't like us, and I'm not talking about the camera, grip, and electric guys, but Mick Strawn [art department] and the special effects people that looked at us as the bad guys because their friends got fired. But they got fired because they weren't good. I'm sorry about that, but we're just here to do a job; they needed to raise their game because we were coming at it from a certain level. And yeah, we expected a lot, we pushed people to get the work done. And at the end of the day, I couldn't have done it without Roy, because Roy controls so much of the film crew.”
― Roy H. Wagner ASC, Roy H. Wagner: A Cinematographer's Life Beyond the Shadows

“On March 11, 1980, Steven Bach was given some shocking news: Andy Albeck told him that David Field had handed in his resignation and was going to 20th Century Fox. It was announced in the press as being for the usual boilerplate “personal reasons.” But everyone at Fox soon learned the real reason for his fleeing United Artists (once principle photography had finally wrapped on Heaven’s Gate)…

DAVID FIELD: “Everyone thought it was because of Heaven’s Gate. In fact, it was because I could not go on working with Steven Bach.

”
― Steven Bach, Final Cut: Art, Money, and Ego in the Making of Heaven's Gate, the Film That Sank United Artists