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“The Hollywood storylines almost always go something like: the Russians are dangerous spies planning to invade us, the Chinese are trying to pull the carpet from under our feet, the people of the Middle East are terrorists, and on and on goes the list of malicious and intentional misrepresentations. At the end of the storyline, the American heroes always win and save America and the world from ‘evilâ€�. What is quite ironic â€� and often goes unnoticed by many â€� in these Hollywood storylines is that, while the American culture is engineered to dismiss valid and genuine critique of American life and foreign policies as being ‘conspiracy theoriesâ€�, America’s relationships with the outside world is strongly based on threats, punishment, sanctioning, wars, and revenge, all done under pretexts like ‘they hate usâ€�, ‘they hate our freedoms and valuesâ€�, and other such nonsense. It never occurs to many Americans that representing the outside world as constantly ‘hatingâ€� us or wanting to destroy our nation and values (unless, of course, they do as we say), is in fact nothing short of conspiracy theory. Overall, Hollywood’s storylines ensure keeping the myth of exceptionalism alive.”
― Louis Yako

“Many Hollywood films don’t do too much except advertise envy. What is so admirable about them is how much art is missing, how much questioning is not there. Stunning it is, how what are celebrated as the best, most innovative films are essentially publicity for the corporate control of the masses. As art they are as distinct as sand from other sand.”
― Greg Gerke, See What I See

“Åžey tırmanırken Dibblerlar ağızları açık, izliyorlardı. Çok hızlı hareket etmiyordu, zaman zaman tutunacağı bir sonraki yeri aramak için gevezelenen Kütüphaneci'yi yakındaki bir desteÄŸe bırakması gerekiyordu, ama yukarıya ilerliyordu.

"Ah, evet. Evet. Evet," diye nefes verdi Soll. "Ne resim ama! Saf sinema!"

"Çığlıklar atan bir maymunu yüksek bir binanın tepesine taşıyan dev bir kadın," diye içini çekti Dibbler. "Ve ücret ödememiz bile gerekmiyor!"

"Yaa," dedi Soll.

"Ya..." dedi Dibbler. Sesinde minik bir kararsızlık tınısı vardı.

Soll özlem dolu görünüyordu.

"Yaa," diye tekrarladı. "Ee."

"Ne demek istediğini anlıyorum," dedi Dibbler yavaşça.

"Bu... Yani, gerçekten harika, ama... şey, elimde değil..."

"Evet, yanlış bir şey var," dedi Dibbler ifadesiz bir sesle.

"Yanlış değil," dedi Soll ümitsizce. "Tam olarak yanlış değil. Öyle yanlış değil. Yalnızca eksik..." Söyleyecek söz bulamayarak sustu.

İçini çekti. Sonra Dibble içini çekti.

Tepede, gök gürültüsü patladı.

Ve gökyüzünden, üzerinde çığlık atan iki sihirbaz taşıyan bir süpürge çıktı.”
― Terry Pratchett, Moving Pictures

“Actors such as Cagney, Robinson and Bogart seem to gather within themselves the qualities of the genres they appear in, so that the violence, suffering and angst of the films is restated in their faces, physical presence, movement and speech. By the curious alchemy of the cinema, each successive appearance in a given genre further solidifies the actor's screen persona until they no longer play a role but assimilate it to the collecive entity made up of their own body, personality and past screen roles. For instance, the beat-up face. tired eyes and rasping voice by which we identify Humphrey Bogart are, in part, selections we have made from his roles as Sam Spade, Philip Marlowe and others.”
― Colin McArthur, Underworld USA