"When it comes to turning out movies, I'm for Hollywood"
About this Quote
There is something almost disarmingly blunt about Jeffrey Hunter declaring, "When it comes to turning out movies, I'm for Hollywood". An actor in the studio-era hangover of the 1950s and 60s, Hunter isn’t praising art so much as defending the factory. The key phrase is "turning out" - not crafting, not dreaming up, not risking. Manufacturing. He’s aligning himself with the place that can reliably deliver product, paychecks, and visibility, even if the critical conversation increasingly wanted to treat Hollywood as a suspect institution.
The line lands as a small act of loyalty at a moment when loyalty was being renegotiated. Postwar Hollywood had lost some monopolistic muscle, television was siphoning attention, and the prestige narrative was shifting toward "serious" filmmaking abroad and later toward auteur-driven rebellion at home. For an actor, those debates can sound like people arguing about the kitchen while you’re trying to eat. Hunter’s choice is pragmatic: he’s staking his career on the machine that exists, not the romance of an alternative.
Subtextually, it’s also a preemptive shrug at accusations of being "commercial". Hunter frames the supposed insult as competence. Hollywood can "turn out" movies because it has infrastructure: crews, budgets, distribution, publicity. The statement is less about ideology than supply chains - an actor’s appreciation for the system that keeps cameras rolling and names in circulation. In its plainness, it reveals a professional truth: in show business, the dream is optional; the output isn’t.
The line lands as a small act of loyalty at a moment when loyalty was being renegotiated. Postwar Hollywood had lost some monopolistic muscle, television was siphoning attention, and the prestige narrative was shifting toward "serious" filmmaking abroad and later toward auteur-driven rebellion at home. For an actor, those debates can sound like people arguing about the kitchen while you’re trying to eat. Hunter’s choice is pragmatic: he’s staking his career on the machine that exists, not the romance of an alternative.
Subtextually, it’s also a preemptive shrug at accusations of being "commercial". Hunter frames the supposed insult as competence. Hollywood can "turn out" movies because it has infrastructure: crews, budgets, distribution, publicity. The statement is less about ideology than supply chains - an actor’s appreciation for the system that keeps cameras rolling and names in circulation. In its plainness, it reveals a professional truth: in show business, the dream is optional; the output isn’t.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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