I had some connections from the newspapers that I did work with up there, so there was a newspaper publisher in Hollywood, and they promised me work and so on.

I joined Walt Disney, went to work, December 2nd 1935, so obviously, I'm not too young!

Yes, the first job I had at the studio was Snow White. I don't like the term particularly, but I got stuck with the human characters. They just didn't have that many people who could draw humans.

Animation had been done before, but stories were never told.

Before I got through high school I had attended 22 different schools. In the time before I was well acquainted with the latest school, I would amuse myself by drawing and found that I was pretty good at it.

Throughout my career, when I was finished with the drawing for one film I would go up to the story department and help develop sequences. Sometimes these were for scenes that I would animate later on.

Some of these sketches were done at the very beginning of the Pirates project, when I was trying to find a direction for myself. That was the early sixties... maybe 61 or 62.

What we were in on, really, was the invention of animation.

Disney had made such a great deal of money on Snow White that the banks gave him the go-ahead on the next three films. But he was heavily dependent on the foreign market.

Drawing is giving a performance; an artist is an actor who is not limited by the body, only by his ability and, perhaps, experience.

My father was something of a rainbow-chaser.

It wasn't a problem for me drawing humans although I had originally come to the studio with the idea that what I had to offer them was my knowledge in the drawing of animals.

His feeling was the name Walt Disney represented all of us. Walt was hanging by his teeth financially and really I think he was for most of his career. Not at all like today.

There is something I feel when I animate something; you can never really understand the character you're animating unless you've had the opportunity to turn it around. Once you've done that, you know it is a three-dimensional object.

The first professional training I received of any kind was when I was 14 years old and we were in Kansas City, Missouri. I attended the Kansas City Art Institute for one summer.

Later, my father died up in Marysville. So, my mother and I got in the car and came down to Hollywood.

I had some connections from the newspapers that I did work with up there, so there was a newspaper publisher in Hollywood, and they promised me work and so on.

At that time, the people that were in the animated film business were mostly guys who were unsuccessful newspaper cartoonists. In other words, their ability to draw living things was practically nil.

Drawing is giving a performance an artist is an actor who is not limited by the body only by his ability and perhaps experience.

We all respect sincerity in our friends and acquaintances, but Hollywood is willing to pay for it.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

Awards were made in Hollywood, in whatever the time it was created. They're to promote each other's movies. You give me an award, I give you an award and people will believe that we are great movies and they'll go to see them. It's still the same.

I've always thought John Travolta is one of the greatest movie stars Hollywood has ever produced.

It could be my downfall, but I don't think it is - Hollywood is run on perception, and if you stray off the path of what you want to do with your career, it's suicide.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

Growing up in Hollywood it seemed like every kid was the child of some star. We had no idea that other people would think we were special, because there was no other lifestyle to compare it to.

I remember having to take detours around the Hollywood sign to avoid having to see this grotesque poster of myself on Sunset Boulevard.

Hollywood is kind of a bad world.

It's so crazy in Hollywood.

I don't think I ever understood Hollywood.

I came across awful characters when I got some kind of status and came to Hollywood. Then you have directors trying to sleep with you, assuming that you will do things because of the way you dress.

Hollywood is sexist and age-ist, and that covers all the bases, I guess.

A few nights ago I went to a Hollywood screening of a small independent film made by Sally Kirkland, an old friend of mine who also did terrific job acting in it. There were other actors in it and they were all terrific.

Hollywood today is all about being consistent. All thinking in mainstream film business takes place in one box.

Everyone is treating it like a Hollywood story. In Madison, it's a neighborhood story.

Hollywood is what you make it; you have to choose company with care because you become what they are.

Hollywood is a world all its own.

Silence is the sure sign that you're on your way out in Hollywood.

What is the thing that Hollywood demands most? Sincerity. No place in the world will pay such a high price for this admirable trait.

If you can believe it, Hollywood wanted to change my birthdate. I was born after Valentine's Day, so they wanted to change it to February 14. A Latin lover should be born on Valentine's Day. I said no.

In Hollywood if you are not working, you are a leper. True, you are probably living in the most expensive leper colony in the world.

There are plenty of lesbians in Hollywood, but they're not out. And that's their choice, but I can't do that, it's too important to me.

After 13 years of life on the half shell in Hollywood, I have made a trip where I wasn't a tourist.

What's really exciting for me is communicating to other people and not just going somewhere to make a movie. That's Hollywood to me and it would mean nothing.

No one has a closest friend in Hollywood.

I had been offered a Hollywood contract before my 18th birthday. It gave me the spark I needed.

Acting coaches in Hollywood were always telling me to use my hands and body more. But that was never me. I just breathe and sometimes it doesn't look as if I'm doing that.

Hollywood is a place where a man can get stabbed in the back while climbing a ladder.

This same habitual blindness to spiritual, substantive dimensions of every significant challenge continues to handicap Hollywood.