Jason Fuchs Quotes

When I was 23, I went to work for Jack Nicholson reading scripts. Later, I was married to a production designer named Richard Sylbert. So I lived in Los Angeles for ten years.

I moved to L.A. to write and direct. I had no intentions of being in front of the camera.

There was a moment in the early '80s when I wanted to work on films and wanted to live in L.A.

I pity the French Cinema because it has no money. I pity the American Cinema because it has no ideas.

When I moved to Los Angeles, I wrote spec screenplays. I was really poor, and I thought I was just gonna do this for a while to make a little money so I could write novels. I thought movies were a second-class art form. I condescended to it - I didn't know enough to know it was really gonna be hard.

We started playing music from an early age and so we wasn't really aware of that side of it, the weird thing is the more successful you get the more free booze and drugs you get, they should be given to the bands who don't have the money.

Everybody in L.A. has a screenplay. The guy pumping your gas has a screenplay.

L.A. is full of screenwriters. I don't know why. On many levels, it's such a thankless occupation.

I went to graduate school for directing at AFI in L.A., and I wanted to be a director.

Everyone in L.A. talks about getting an agent or a manager in terms of getting on a sitcom or getting on a movie or doing something else.

I'd love to work with the Coen brothers. And Steven Spielberg. 'E.T.' was big for me.

Our film society back home is so different from here. Making a movie is universal. Directing a movie is universal; it's a universal language. It's just figuring things out and understanding the codes and how the system of Hollywood compares to that of Norway. We don't even have agents. There's no studio system, no managers.

Hollywood is here to stay, and we have to keep the momentum going.

I moved to L.A. straight out of graduating my arts high school and worked three jobs to afford living while taking acting classes and auditioning often.

Anybody who lives in Colombia knows that if you don't have any money - I tell you what - you don't have many options.

Especially in Los Angeles you get attached to these projects and then they lie around and you wait and look for that moment in time when everything just works out - every movie that gets made here in LA is a little bit of a miracle.

I met Joan Allen at an L.A. Film Critics Awards' dinner, and I said, 'I want to write a movie for you.'

In my previous profession, when I was a producer, scriptwriter and actor, I wanted to get an Oscar, I wanted to be popular in the U.S.A.

Hollywood, at the bottom of it, is about money.

I learned that getting a movie made in Hollywood is a near impossibility, and the process can be a wild adventure. TV is a lot more consistently productive - no offense to the beautiful world of feature film.

I very much love Los Angeles, and I love working here. I find it very inspiring and very creative, and some of the best crews are in Los Angeles.

I'm a writer-director originally from Rhode Island, now living in Los Angeles. I've spent the past eleven years working with a writing partner, Joni Lefkowitz, and am now making the transition into feature directing thanks to this script we wrote together and our incredible producer Jordana Mollick.

I made my film debut in 1973.

In Hollywood, they create banks of scripts, whether they are used or not.

I want to do movies.