A Quote by Julia Fox

I want to be in Hollywood. — © Julia Fox
I want to be in Hollywood.
I don't want to say, 'I want to be in Hollywood,' like so many actors do, but I know that Hollywood is still making good movies, and I'd like to be part of that someday.
I consider my relationship with acting in Hollywood as sort of a mutual breakup. Through puberty, Hollywood didn't really want me anymore, and I was like, 'Yeah, I don't really want you, either.'
I don't think a lot of people - when they associate you with Hollywood, they don't want to think of you as normal. They want to hear, you know, all the stuff in Hollywood.
I do think Hollywood is recognizing that there's a craving for it, that there's a huge audience in our country. They want movies that they can bring their families to. They want movies that are going to speak to their heart, in a way that's refreshing to their hearts. And Hollywood is learning that there's money to be made there.
I'm always fascinated by people from the Midwest, because it is so different than Hollywood, who discover at some point that they want to be in Hollywood.
I still hate making pictures! And I don't like Hollywood any better. I detest the limelight and love simplicity, and in Hollywood the only thing that matters is the hullabaloo of fame. If Hollywood will let me alone to find my way without forcing me and rushing me into things, I probably will change my feelings about it. But at present Hollywood seems utterly horrible and interfering and consuming. Which is why I want to leave it as soon as I am able.
There's nothing in Hollywood that's inherently detrimental to good art. I think that's a fallacy that we've created because we frame the work that way too overtly. 'This is Hollywood.' 'This isn't Hollywood.' It's like, 'No, this is actually all Hollywood.' People are just framing them differently.
I'm meant to be an animation director. That world, and the culture of stop-motion, is where I want to live. It's more my problem than Hollywood's. I'm not attuned to Hollywood.
I have no interest in changing Hollywood. Hollywood is a place so consumed by the spirit of the world that I don't even want to try to think about how to infiltrate that.
People talk about Hollywood as a myth, but in reality, when you make Icelandic movies and you want to get them distributed in the U.S., you're not really working with Hollywood. The movies I've been making, the first one I made, I made it with Working Title, but it was financed through Universal, so it became a Hollywood production.
If the Indian people want stories written about themselves, how they want them told, they are going to have to make them, they're going to have to finance them. If you let Hollywood do it, Hollywood is going to get it wrong most of the time.
If I was American, I think I'd live in New York, because I like that East Coast mentality. There's nothing wrong with Hollywood. If you want to be a big time filmmaker, you should go to Hollywood.
He convinced me - Fred Freeman - to go to Hollywood and we went to Hollywood to write sitcoms. Joey Bishop actually paid my way to Hollywood.
I'm an independent filmmaker with complete creative control of my films. I hire who I want. I have final cut. But at the same time, I go directly to Hollywood for financing and distribution. I find it's best for me to work within the Hollywood system.
The problem in Hollywood is that they try to become the only kind of cinema in the world, okay? The imposition everywhere of a unique culture, which is Hollywood culture, and a unique way of life, which is the American way of life. But Hollywood has forgotten that, in the past, what made Hollywood great and what made it go ahead was the fact that Hollywood was fed with, for example, Jewish directors coming from Germany or Austria and enriching Hollywood. In 15, 20 years, Hollywood became imperialistic. Cinema goes ahead when it is marriaged by other culture. Otherwise, it turns on itself.
Los Angeles is Hollywood and Hollywood is Hollywood Blvd. It's the first thing you want to see. It's the only thing really that you know about as far as Los Angeles is concerned. And so you go and you look at Joan Crawford's hands and feet and the whole history of American filmmaking is encapsulated in that one little area on that one street. That street, to me, has always been the street of dream.
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