Of All the Gin Joints is one part cinematic history, one part old Hollywood weirdness, and one part handy basic bar guide, with a dash of romance and more than a few wry twists. Bailey and Hemingway prove themselves very entertaining cultural mixologists.
Certainly, the Hollywood cinema, there's almost nothing of interest coming out of there.
Hollywood has definitely grown, in embracing the inclusion of Latinos in the world, because, for some time, we didn't exist. We were not part of any stories.
They thought I was crazy in Mexico when I said, 'I'm going to Hollywood.' Nobody thought I could make it.
Never, ever, have I felt really accepted in Hollywood.
It helps being from somewhere other than Hollywood, not having grown up with that sense of film-making. I really wasn't exposed to that as a young woman.
The Hollywood system has its own problems. Movie making is never an easy job.
I don't think it's necessarily 100-percent true. But comic books have infiltrated the mainstream Hollywood in ways that I don't think I ever would have seen or thought imaginable a while ago. But it's also cyclical. You saw it in the '80s when it became kind of huge again. And then it disappears for a while, then it comes back again, then it disappears for a while. So yeah, there's something about that.
They're lacking culture in Hollywood. That gives me a big up, right? I know something about pop culture.
I think Hollywood is incredibly segregated. I've never seen any place like it.
Fortunately, Hollywood is open to change. It's just a question of how to go about doing it.
I ask everyone - white Hollywood and black Hollywood - to get outside of your comfort zone and make friends. That's where they're going to learn from each other, and that's where they're going to make better movies and make Hollywood a better place.
Urban pop culture is its own phenomena that is for some reason is left out of Hollywood. It's the most mainstream thing there is.
Hollywood is full of very liberal people, but it still has an infrastructure that needs to be broken.
I don't want to wait for Hollywood to decide that what I do is good.
I will never stop doing stand-up; that's my career, but I will do movies in Hollywood.
I don't need Hollywood. With or without them, I'll be fine. But I'll admit it would be nice to have them on board.
You want to unify America with a sense of culture and decency and all of this that reasserts and reaffirms the concepts of American exceptionalism.But the left and who they are, you watch Hollywood, you watch the Oscars, you watch any left-wing, it's not even Democrat. It is ultra left-wing radical.
The blacklist against people in the entertainment industry that show up for [Donald] Trump is worse than that blacklist you heard of in Hollywood back in the forties and fifties.
It's easier to list Hollywood and TV people who don't have a radio show now, take less time to do that than to list those who do.
Being a conservative union member is almost like being an actor in Hollywood: You don't dare say it, or you might be injured on the job, or you might be laid off, or your family might have something happen to them.
I love Hollywood films and when they're done right, they're great. At the same time, I think it's always hard to come on to something that preexists.
I don't think the idea of working in Hollywood really exists anymore. I think you work in films, and where the film is shot is where it's shot. The studio system doesn't really exist.
Being in Hollywood is like being in the Christian right these days.
We thought by setting the film ["Selling Isobel"] in the cloak of... let's call it an indie-Hollywood thriller, it would appeal to a wider range of young women who would see this cautionary tale and say, "Hang on, I've got to think twice about what I get myself into."
