My first in, my first break, was I met a director and got to talking with her, and she happened to be casting this movie that she had written. That was ten years ago. That got me to Hollywood. I got paid $700 bucks.
I still remember 1997 when I made the movie 'Storm Riders;' that moment, a lot of American producers want to hire me to make movies in the States.
Everybody wants to be a movie star. I bet if you ask that guy would he like to be a movie star, he'd say, 'Sure.'
If you want to be in Hollywood, and if you want to make big international movies, you have to be able to make movies that don't have anything to do with social status or politics. To limit yourself to just do these little small movies and call it black cinema itself is a mistake to me.
Later on they send me to Hollywood. To make movies. It was all new to me. I was only 21 years old.
L.A. runs on optimism, enthusiasm and flattery. I think you can go a little bit crazy. I've heard people say there's a limit to the number of years you can stay in this city without going slightly mad. It's just too damn sunny in every dimension - weather-wise, socially and professionally.
When I first came to Hollywood, I could not break into movies.
Going after a part in Hollywood is like being a gladiator in ancient Rome. When it comes down to getting a role, you don't have any friends, you're incredibly competitive and any actor who tells you different is lying.
I'd love to do a film like 'Chicago.' Something musical because I've obviously come from that background.
You just wait. I'm going to be the biggest Chinese Star in the world.
My basic mistake in 'The World's Greatest Lover' was that I made the leading character a neurotic kook and sent him to Hollywood. I should have made him a perfectly normal, sane, ordinary person, and sent him to Hollywood. The audience identifies with the lead character.
Hollywood is the backdrop of my family, and I know that the movie business is incredibly cruel as you get older.
Sunset Boulevard' is my favorite film.
Well, there's different shades of Hollywood, sure. I mean, I'm working in this business but I'm not Hollywood.
Los Angeles is like a beauty parlor at the end of the universe.
Obviously I am not the young man who came to Hollywood in 1946.
I'm reading scripts just like everybody else. Tin cup in hand, knocking on doors, trying to get a job. It's tough. They don't make as many films these days, and there's a lot of guys that are fighting for jobs.
When I came out to Hollywood, I discovered the perfect place for my creative madness - Cannon Pictures.
All Americans born between 1890 and 1945 wanted to be movie stars.
I grew up in Hollywood. Saying my name here is like mentioning Ford in Detroit.
I'm a working actress in Hollywood. You unfortunately don't get the pick of the litter when it comes to auditions and jobs.
I like the legend behind him. James Dean symbolizes the young actor's dream. He struggled to get into Hollywood. He shot to fame at the age of 24 but only got to star in three films. It's kind of a fantasy of what could have been.
It doesn't mean I'm not interested in Hollywood. I like the way it operates; I like the people who are involved and the sense of possibility. But if I ever get back in, it's not going to be as an actress.
I definitely used to dream of sitting in the movie theatre watching the 'Star Wars' credits come up knowing I was part of one of those films.
I'm always honored, but I think for every 100 of those that come along, one of them is actually going to happen. And, the fact that this was an offer on a major film that had a start date, was pretty impressive.
