A Quote by Hector Tobar

I spent my whole life as a writer talking to just the average guy in Los Angeles and Latin America, talking to working people. — © Hector Tobar
I spent my whole life as a writer talking to just the average guy in Los Angeles and Latin America, talking to working people.
I love the Latin neighborhoods in Los Angeles. It's like traveling all over Latin America without ever leaving LA.
Since I have spent many years of my life living in Los Angeles, and since I'm also in the music business, I know that much more is talked about in Los Angeles than ever really occurs.
Sometimes we misunderstand what films can do. We just throw a whole book in there, with people just talking, talking, and talking. The picture can tell, the frame can tell.
I can't tell you how many times I get into a taxicab in New York or Los Angeles, and I'm talking to somebody who is a recent immigrant who was a doctor or lawyer or engineer or professor in the country they just came from. They're starting over again in life, and I think the majority of people out there can relate to that.
I don't live in Los Angeles. I work in Los Angeles, and even that - I audition in Los Angeles; I very rarely film in Los Angeles. I don't hang out with producers on my off-hours, so I don't even know what that world is like.
I'd love to do some collabs or music with Latin artists and in Latin America - we're working on it! I just really love Latin America and the language, culture, foods, people, and it's a place I grew up visiting pretty often.
In certain parts of the world - where I'm at right now in New York, you're going to pay a whole lot more. In Los Angeles, your average starter home is a million dollars. So I need more money in Los Angeles to live like a normal person. If I live in another city, Iowa maybe, I wouldn't need as much.
One of the problems with any kind of talking about the media landscape is that we've just been through an unusually stable period in which, for fifty years, English language media was centered in three cities - London, New York, and Los Angeles - around a very stable group of people working in a relatively stable set of media.
I have spent my life falling. Not the kind that Tiny's talking about. He's talking about love. I'm talking about life. In my kind of falling, there's no landing. There's only hitting the ground. Hard. Dead, or wanting to be dead. So the whole time you're falling, it's the worst feeling in the world. Because you feel you have no control over it. Because you know how it ends.
I've spent my whole life not talking to people, and I don't see why I should start now.
The good thing about Pittsburgh, it's a good place to be raised... it doesn't tolerate assholes. You're either a good guy or you're a bad guy... When I'm in Los Angeles having these incredibly surreal moments where nobody's saying anything and everybody's talking incessantly, I always have that Pittsburgh voice in my head - shut up, smile, get the job, move on.
I have a simple rule: when I'm on TV, I'm not talking to just my anchor or my colleague on my right. I'm talking to America. I look into the lens, and in my head, I'm talking to somebody in Nebraska. Why Nebraska? Why the Cornhusker State? I have no idea. But it feels like it's a good place to talk to people.
In early 1983, Gary Goetzman and I went to see my favorite band, the Talking Heads, at the Hollywood Bowl in Los Angeles. The show was like seeing a movie just waiting to be filmed.
And James L. Brooks then sort of became our mentor, brought us out to Los Angeles and worked on the script for a year with us. We learned so much working with him - just being able to spend time with him, the quality of his mind, the things he comes up with and says. I think Wes [Anderson] and I could go to dinner tonight and spend the whole dinner thinking and talking about things that Jim has said to us over the years.
Los Angeles is a rich city; California is a rich state; the United States is a rich country. The money is out there, and Los Angeles teachers are demanding that it be spent where it belongs, on our kids.
When I say Afro-American aesthetic, I'm not just talking about the United States, I'm talking about the Americas. People in the Latin countries read my books because they share the same international aesthetic that I'm into and have been into for a long time. And it's multicultural.
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