A Quote by Van Heflin

I certainly don't approve of American actors who go to Europe and run down Hollywood. — © Van Heflin
I certainly don't approve of American actors who go to Europe and run down Hollywood.
Imported actors, like certain wines, sometimes do not stand the ocean trip. This can be as true of American actors in Europe as it is of European actors in America.
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.
Most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.
In fact, most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.
In Hollywood, they make movies like they make washing machines. It's a business. In Europe, the films are considered art. No producer would ever tell a director where to cut a film or how to re-write the script. I love Hollywood, but all of the time I have to go back to Europe.
The actors I was most impressed with and who were influencing my taste were all movie actors, so I always wanted to do movies but I didnt want to go to Hollywood and become a waiter in the meantime. The chances are really slim that an actor will be discovered in Hollywood. ... Ive never had to compromise myself for a job, ever.
American actors are very different to British actors who have generally studied and been brought up culturally with the sense that the writer is the star and that their job is to serve the writing. Whereas Hollywood actors are brought up to believe that the actor is the star, and everything and everybody is in the service of them.
After working for years in Hollywood where the actors have taken over, it was a real relief to get down there and not only have some children, but also have some actors that had no attitude.
It just kind of continues to be strange and interesting to me to try to understand what other people are looking for. And this also just comes from getting older. You look at the stuff certainly that's coming out of Hollywood these days, and you go, "Did what came out of Hollywood when I was a kid make more sense, or was it just that I was in the demographic then?" But I certainly feel increasingly confused and disconnected from it.
What I like about the American woman is she usually has a lot of dynamism. In the U.S., women have a tendency to go forward, to be more exaggerated than in Europe. Many times the rough ideas come from the States, then they are refined in Europe. The American women and the French women are still the best-dressed.
There is a strange pecking order among actors. Theatre actors look down on film actors, who look down on TV actors. Thank God for reality shows, or we wouldn't have anybody to look down on.
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.
Making African American films are hard in Hollywood. We need to rely on a support network and bring more cohesion to different filmmakers, actors, producers etc. It's a very difficult business. There aren't a lot of Africans Americans or people of color in high positions in Hollywood that we can green-light films.
I never really worked in Hollywood. Some American producers came to Europe to shoot films with me, so it's a different situation... It was not my aim.
What we've witnessed in the past 25 or 30 years is just incredible. We've birthed 30,000 or 40,000 restaurants. I used to go to Europe every year to get experience [and ideas]. I don't go to Europe anymore. I go to Oregon, I go to Washington, I go to Louisiana, I go to Little Rock, I go to Austin, I travel New York City. I don't go to Europe anymore.
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.
This site uses cookies to ensure you get the best experience. More info...
Got it!