I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.

I also work with the regular orchestras in Munich, Germany and other similar orchestras.

I worked with practically everybody in the business in all of the years in NBC, but I worked personally many years with people like Crosby and Sinatra, so of course that was a great ground school for me.

If you don't operate it as a business, you aren't going to be around very long.

I listen to everything.

I grew up on film scores and scores from films.

We do a lot of light classical programming with that, too... obviously... a lot of Tchaikovsky music, Grieg, things like that which have become less classical with classical concerts.

In a way, yes, because I was starting something fresh, and it was something totally independent.

And then I went into television; and then television moved from the East Coast to Hollywood.

I think my favorite experience is whatever I'm doing now.

Symphonic orchestras have almost become a glut in the market.

I recorded with Sinatra, but the recording business is a very strange strata right now.

We try to say it's creative and in a manner it is creative, but it is a business, because today, with the cost factor in crossing the boundaries that you do.

But I listen to everything, I listen to all artists that come along.

That was probably the stamp that went into my mind, because I worked in television for many years, doing that kind of music, so that really was my strong forte.

While there used to be one or two Pops orchestras, now there are all kinds of European orchestras that suddenly look upon this as a golden wand that can enable them to make money recording this music.

I had had a classical education prior to that.

Well, in our business, it's a very tough profession.

I've watched the demise of the Hollywood orchestra, the house orchestras of the big studios.

Well, I worked with lots of different artists, of course.

Do, What you're going to do in longevity. Not just what happens tomorrow.

I started off as a studio pianist in Hollywood.

Then I went to radio with Sinatra and I watched that disappear.

Although we are being presented in Carnegie Hall, we have to furnish a budget for our guest stars, and for the music writing - which is a huge budget in any orchestra that plays popular music.

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.