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I worked with a man named Patty Crane who was Errol Flynn's stand-in back in the '30s in Hollywood.
I'm tired of playing little girls. I'm a woman now. I can't run around forever being the Little Miss Fix It who bursts into song. I want to get out of Hollywood and get a fresh approach.
I never see my movies. When they're on television, I click them away. Hollywood created an image, and I long ago reconciled myself with it. I was the French cliche.
I made my first film on 16mm. Then I began using 35mm.Then I began working in Hollywood. And I began to really understand how films were made by professionals. I have to say I wasn't very impressed.
Much of what happens in Love Always is really from overheard conversations in the Russian Tea Room. It's an improvisation of the way certain Hollywood agents think and talk to each other.
No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.
In all of our society, but especially in Hollywood, there is an obsession with perfection that can lead to self-loathing and neurosis and all that kind of stuff.
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 grew up in a Hollywood family with money, so money is not the reason I make music. I'm as Hollywood as it gets. Not internally but externally - that's my bloodline.
Hollywood actresses age in dog years. I'm 25 in the rest of the world, but I'm about 48 in actress years. I'm just around the corner from my midlife crisis.
I made the mistake early in my career, when I moved to Hollywood, of being attracted to actresses. I used to go out exclusively with actresses and other female impersonators.
Well, it's a lot less dangerous - working with snakes and mountaibn lions and dangerous animals - than working in Hollywood [laughs]. Hollwood will kill you.
Just like those other black holes from outer space, Hollywood is postmodern to this extent: it has no center, only a spreading dead zone of exhaustion, inertia, and brilliant decay.
You cannot live in Los Angeles for any period of time without eventually trying to write a screenplay. It's like a flu bug that you catch ... Even the plumber has a screenplay in his truck.
Hollywood embraced me in the late '80s because there was a good project I was in and it was different. Nowadays, it's about corporate mentality, box office, youth.