There are thousands of directors in Hollywood.

I can't believe I actually was in my own movie.

The first Decline I did was out of sheer love and appreciation for the music. In 1977, it was more about bands, because punk was a new form of music. It was groundbreaking and political.

I really feel kind of guilty spending 80 million dollars. People are starving in the world.

Your best protection is to have an established agent make the contact.

Before you approach a production entity or even a potential producer, you should write up a treatment and register your show with the Writers Guild of America.

This generation has given up on growth. They're just hoping for survival.

Big studio comedies are such a headache.

I actually picked up copies of Decline I and II at a flea market once. I walked out without paying.

Now, it's almost impossible to go out and do a film about a new form of music.

I live on this nice three acres in Hollywood.

Those movies, Decline I and II and Suburbia, are dearly loved, but they never made any money. I didn't even have the rights for some of them.

I got IRS records to finance what I wanted to do.

There are thousands of directors in Hollywood.

For the most part, studio movies have huge budgets. They don't do anything under 30 to 40 million. When you have that much money at stake, you have so many people breathing down your neck.

If you are looking for a producer, try to contact established producers. Don't let the fear of theft paralyze you, or you will never get anywhere with it.

When men have money and power they get turned on, sexually. They get horny as hell. Can't imagine why, though.

Rabid fans were literally jumping into the camera.

Decline III, I funded myself, from the studio money. That, and I sold a lot of drugs. Kidding. Don't print that.

I was always into music. I think everyone is when they're a teenager, as a way to drown out the world.

Me and Johnny Rotten have been talking about doing a movie of his book, No Irish, No Dogs, No Blacks. We have a script, so hopefully that's going to happen at some point in our careers.

I love punk rock, but I also love metal.

When we did Wayne's World, it was 14 million dollars and they didn't bug us too much because they just thought it was some little movie that nobody was ever going to see. We showed them.

In other countries, it's a common thing to have outcast children running around the streets in packs, and I don't think we're so far away from it here.

Different parents have different standards for their children.

It is the idea that it's a movie in a movie. So I did it.

It's really hard to imagine there ever being the kind of impact there was when punk rock happened in the late 70's. I wish there would be one big change like that again, but I don't know if that'll ever happen.

Arnold and Jamie Lee must have worked over the years with directors that did 50 takes, because I'd get like three takes or so and say, Ok, that's it, we're done.

Nobody wanted to touch Decline III when they found out what it was about.

It is fun to try figure out the things that really are real and the things that aren't.

This generation has given up on growth. Theyre just hoping for survival.

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.