A Quote by Patrick Whitesell

In Hollywood, there's a network of creative executives, and when they hear something is good, it catches fire. — © Patrick Whitesell
In Hollywood, there's a network of creative executives, and when they hear something is good, it catches fire.
I do not believe that we can put into anyone ideas which are not in him already. As a rule there are in everyone all sorts of good ideas, ready like tinder. But much of this tinder catches fire, or catches it successfully, only when it meets some flame or spark from outside, i.e., from some other person.
The traditional model for a company like Coca-Cola is to hire one big advertising agency and essentially outsource all of its creativity in that area. But Coca-Cola does not do it that way. It knows how to manage creative people and creative teams and it has been quite adept at building a network that includes the Creative Artists Agency in Hollywood, which is a talent agency.
The fishhook catches the fish; the truth catches the lie; the death catches the life; the love catches the hate!
The guy who shows up on time, who has a good work ethic, network executives and producers know that. It's a very small industry we work in.
I got a good handshake. A lot of executives tell me I have the best handshake in Hollywood.
There's a trend in Hollywood at the moment where studio executives are coming from more of a marketing background, and that is challenging. I think one of the problems of marketing executives is that they don't understand how films get made and they're a bit nervous. And that is not the most efficient way to be a studio executive.
[A]t the beginning of November 2001, there was a series of meetings between White House advisers and senior Hollywood executives with the aim of co-ordinating the war effort and establishing how Hollywood could help in the "war against terrorism" by getting the right ideological message across not only to Americans, but also to the Hollywood public around the globe the ultimate empirical proof that Hollywood does in fact function as an "ideological state apparatus.
The territory has changed, and a lot of really good actors want to do cable series, but they don't necessarily want to do network TV and make the commitment of 22 episodes or whatever. They find that the liberties and the creative freedoms that you get in cable is more interesting to them than the censorship of a network show.
The Academy just reflects Hollywood. And until we break those barriers, until we have African-American or minority studio executives, 'til we have people who are greenlighting movies with African-American actors - the Academy is not going to change until Hollywood changes, so we have to start with Hollywood.
I worked with Congress on legislation, gave speeches to CEOs, military generals and Hollywood executives. But I also worked to ensure that my efforts would resonate with kids and families - and that meant doing things in a creative and unconventional way. So, yeah, I planted a garden and hula-hooped on the White House lawn with kids.
Dealing with network executives is like being nibbled to death by ducks.
I don't know when network executives will get out of the Dark Ages.
Good executives, like all good leaders, must expect opposition when making decisions or when making or enforcing the law. But executives must engage those that disagree with them.
I didn't go Hollywood on the outside with flashy cars, upstairs maids and mink covered bathroom fixtures. I went Hollywood on the inside and that's worst of all. I tried to avoid being natural. I lowered my voice. I copied the mannerisms of other stars. I struck poses. I received bad advice - from dramatic coaches, from agents, and from studio executives. I stopped being a human being. I blame myself and I blame Hollywood's star system.
I hear hundreds of years of life. I hear wind and rain and fire and beetles. I hear the seasons changing and birds and squirrels. I hear the life of the trees this wood came from.
It is your business when the wall next door catches fire.
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