La Quotes

Hollywood will put you in a box, so to speak. Some people will have seen you in 'La Bamba' or another dramatic film and think, 'Okay, that's what Lou does.' But they don't really have an idea of the range or diversity that I can bring to a project.

There is more openness in LA to possibilities than on the East Coast of America. There is a pioneering spirit there that stems from the reason people went out there in the first place-to find something new.

I've lived in LA for so long, I don't even know what is real and what isn't any more.

After living in LA for 8 years, I sort of wanted a change, but there's not much production in New York, which is where I primarily live, so I just sort of drifted over to London.

I live in New York. I don't really particularly want to move to LA.

But no, I'm still living in LA and haven't dropped off the face of the earth.

When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven't really seen any electronic music performed live in an interesting way.

We were lounging around in this beautiful house in LA, and I'm coming from NY, so sometimes when we weren't working I would just sit on those folding chairs.

I like visiting LA, but I wouldn't want to live there.

There's too many actors in LA. I mean, I'll go out there from time to time, but I always find it pretty soul-destroying. I don't drive, and the people kind of rub me the wrong way. It's just not home. You know? It's not New York. It's not... my town.

The whole year I was in LA I got into telemarketing and learned how to make money. Five years later that skill helped me make my first film.

I started writing this feature comedy in New York - a Chris Farley vehicle. The script was decent. When I got to LA, I met some new friends in film school and had them read my script and give me notes.

We spent a month in LA using a pool of musicians, a string arranger called Benjamin Wright, some great backing singers, and it gave tracks like Dynamite, which was written there, that kind of flavour.

I've heard The Demolitionist described, premise-wise, as 'RoboCop' meets 'The Crow' by way of 'La Femme Nikita'. That, as I see it, could not be more accurate.

The first big lead that I had on Broadway was in a show called La Strada.

I had a great deal of pressure to move to LA after Romancing the Stone came out and I'd become very popular. But people came to me anyway.

I was 16 years old, driving to LA, and sleeping in my car, just trying to make it happen.

There's not really much destruction in New York besides the weather and it's a natural force so it's not like any destruction. But LA gets leveled (laughs). That's my comment to Hollywood.

It is wonderful to see how happy all my friends in the LA Philharmonic are in their new home.

I've talked with John Cale for two decades about what to do about La Monte, and how to get copies of our work.

Everyone said that if you want to be a real actor, go to New York. If you want to sell out, go to LA. And I thought - I want to sell out!

Between New York and LA, there's 200 million people that aren't hip, and they don't want to be hip.

Don't try to start a career in LA, unless money is all you're interested in.