A Quote by Conrad Veidt
In the middle of my third Hollywood picture The Magician, the earthquake hit Hollywood. Not the real earthquake. Just the talkies.
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There's nothing the matter with Hollywood that a good earthquake couldn't cure.
There is this split between the Haiti of before the earthquake and the Haiti of after the earthquake. So when I'm writing anything set in Haiti now, whether fiction or nonfiction, always in the back of my mind is how people, including some of my own family members, have been affected not just by history and by the present but also by the earthquake.
I was awakened by a tremendous earthquake, and though I hadn ever before enjoyed a storm of this sort, the strange thrilling motion could not be mistaken, and I ran out of my cabin, both glad and frightened, shouting, "A noble earthquake! A noble earthquake" feeling sure I was going to learn something.
Considered purely as effects-driven filmed drama, 'The Day After Tomorrow' checks in somewhere in the middle of one of Hollywood's most absurd and least lamented dead genres, the disaster pic of the '70s. It's a little better than 'Earthquake' but not as good as 'The Towering Inferno,' because it doesn't star Steve McQueen and Paul Newman.
The impact of the earthquake on mental health was huge and unimaginably deep in people's lives. Some lost all benchmarks and references because of their great loss, we still have people coming to clinics with mental health problems related to the earthquake. They talk about the earthquake, about being under the rubble.
Part of the problem when I was doing 'How I Learned to Drive' is I would see my kids one night a week for six months, and that was just too hard. We moved to Philadelphia after we lost our house in the earthquake, the '94 Northridge earthquake.
Whenever an earthquake or tsunami takes thousands of innocent lives, a shocked world talks of little else. I'll never forget the wrenching days I spent in Haiti last year for Save the Children just weeks after the earthquake.
Soon the earth will tilt on its axis and begin to dance to the reggae beat to the accompaniment of earthquake. And who can resist the dance of the earthquake, mon?
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.
Like the tectonic plate it sits upon, Hollywood is subject to seismic jolts and constant tremors. Each season erupts with a new champion, and every so often a genuine earthquake will tear down the apparently secure infrastructure.
That was my one big Hollywood hit, but, in a way, it hurt my picture career. After that, I was typecast as a lion, and there just weren't many parts for lions.
When that hit the fan ... it was like an earthquake.
I think Hollywood... well, there is no Hollywood anymore so let's just call it the mainstream since the business is no longer Hollywood producing its own films and then distributing, they just distribute.
Shortly after the 2004 Indonesian earthquake, I read that the earthquake had affected the rotation of the earth, shortening the length of our 24-hour day. Even though the change was extremely slight - only a few microseconds - I found the idea incredibly haunting.
Most loss of life and property has been due to the collapse of antiquated and unsafe structures, mostly of brick and other masonry. ... There is progress of California toward building new construction according to earthquake-resistant design. We would have less reason to ask for earthquake prediction if this was universal.
I do as much outdoor stuff as I can. What I've done is I bought a house in the middle of Hollywood, but I live in the forest. I literally live in an area that looks kind of like where I camped as a kid, but in the middle of Hollywood. It's called Laurel Canyon.
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