Quotes About Commercial

Underground is underground, commercial is commercial. There's market for both, and both get money.

We have feudal governments in a commercial age. It would be but an easy extension of our commercial system, to pay a private emperor a fee for services, as we pay an architect, an engineer, or a lawyer. If any man has talent for righting wrong, for administering difficult affairs, for counselling poor farmers how to turn their estates to good husbandry, for combining a hundred private enterprises to a general benefit, let him in the county- town, or in Court-street, put up his sign-board, Mr. Smith, Governor, Mr. Johnson, Working king.

I remember I prayed to God. I was like, "Just let me be on TV." Let my friends see me on TV in a good thing. I like, if I'm funny a little bit on a commercial and then I don't need to act ever again. "Just let them see me." And then it worked. I got the commercial. I was on TV. My friends all saw me. I was a kind of a star at school for like three days. And then it faded away and I was hungry and I had to like make another deal with God. I remember it still.

The futility of everything that comes to us from the media is the inescapable consequence of the absolute inability of that particular stage to remain silent. Music, commercial breaks, news flashes, adverts, news broadcasts, movies, presenters—there is no alternative but to fill the screen; otherwise there would be an irremediable void.... That’s why the slightest technical hitch, the slightest slip on the part of the presenter becomes so exciting, for it reveals the depth of the emptiness squinting out at us through this little window.

It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.

He also tried to block the doorway when she left him. My mother ducked under his arm, ran to her car, and drove away. I remember thinking that this was somehow romantic, as it pinpointed the actual memory of my mother's departure, something you don't see a lot of in television. Real people don't slam doors without opening them five minutes later because it's raining and they forgot their umbrella. They don't stop dead in their tracks because they realize they're in love with their best friend.They don't say, "I'm leaving you, Jack," and fade to a paper towel commercial.

Actually, I'm frequently described as the UK's only translator of Korean literature, but even that isn't accurate - Agnita Tennant is UK-based, Janet Poole is British though lives in Toronto, Brother Anthony was born here though is now a naturalised Korean citizen. There's also Chi-young Kim and Sora Kim-Russell, who are younger and do fiction for commercial houses.

It is no accident that television has been dominated by a handful of corporate powers. Neither is it accidental that television has been used to re-create human beings into a new form that matches the artificial, commercial environment. A conspiracy of technological and economic factors made this inevitable and continue to.

Illustrators are usually illustrating something big or commercial if not outright advertising. It's a form of prostitution, but that's cool because we don't have any moral hang-up about it.

The outlook of the world today is for the greatest era of commercial expansion in history. The rest of the world will become better customers.

It's my first sort of commercial attempt, but it made sense for me because I'm not that kind of guy and I'm not going to continue to do that kind of movie.

I'm not in the media that much, so people don't know my personality very well - they just know my work. I feel bad for people who have to read about my personal life and my relationships and see photos of me going through security at an airport. It's like watching a commercial for a hamburger that looks delicious, like a Big Mac, and then going to where they make it and taking photos of what it looks like behind the counter, and it's horrifying.

Valentine's Day purely commercial, cynical enterprise, anyway. Matter of supreme indifference to me.

...Prevent postal investigators from aggressively interfering with, or closing, a commercial enterprise merely because it has been deemed not to adhere to the prevailing body of scientific opinion - whatever they have determined that to be.

Richard Branson is probably the most visible of the private commercial space guys, and what is venture, Virgin Galactic is about is sub orbital flight. That is, you'll see a spacecraft that looks more or less like an airplane and it will fly into space, but only spend about 15 minutes. It'll go up in a parabolic arc and then fall back down, and so the customers on that flight will only get about five minutes of weightlessness. They'll get to glimpse the horizon of the Earth, take a look at it before just before they start coming back down into the atmosphere.

I got my SAG card when I was 10 by starring in a Beenie Weenie's commercial.

The impact of the ACA on larger businesses - especially those that self-insure - is far less than what they would experience in the standard commercial insurance market were they to go out and purchase traditional coverage.

I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.

They all looked like a shampoo commercial, healthy and clear-skinned, perfectly proportioned, a group of handsome young men. Their clothes hung on them like they were glad to be gracing such supermodels.

This false distance is present everywhere: in spy films, in Godard, in modern advertising, which uses it continually as a cultural allusion. It is not really clear in the end whether this 'cool' smile is the smile of humour or that of commercial complicity. This is also the case with pop, and its smile ultimately encapsulates all its ambiguity: it is not the smile of critical distance, but the smile of collusion

And yet there are many times when it does not make any difference what pattern one uses. One thing is certain. The more bedraggled the fly gets the better the trout like it. I think there is a reason for this. I think the bedraggled half worn out wet fly more closely imitates a nymph than a new one does. Most commercial flies are tied too bushy and full. A little trimming of wings and thinning out of hackles will often work wonders.

You have to know accounting. It's the language of practical business life. It was a very useful thing to deliver to civilization. I've heard it came to civilization through Venice which of course was once the great commercial power in the Mediterranean. However, double entry bookkeeping was a hell of an invention.

Intellectuals love Jefferson and hate markets, and intellectuals write most of the books. Intellectuals often think that they should, for the benefit of mankind, act as fiduciaries for the clods who don't have to be intellectuals, and I suspect that has to do with [why historians love Jefferson and not Hamilton, even though Hamilton's vision of America's commercial future was vastly more accurate than Jefferson's].

Don't worry about trying to develop a style. Style is what you can't help doing. If you write enough, you draw enough, you'll have a style, whether you want it or not. Don't worry about whether you're "commercial". Tell your own stories, draw your own pictures. Let other people follow you.

You know policy is driven purely in self interest. The Federal Reserve Bank and the commercial banks and the Wall Street banks are not acting in the interests of the population at large, they're acting purely in their own self-interest, which is a shame because they're actions dictate the reality for 300 million Americans. But they don't see it that way, they see it only as a way to preserve their own self-interest.

Commercial distress in any great business center will the more surely create widespread disaster.

Commercial music, for the most part, is popular music and you always have to keep that in mind.

A laborer no longer makes whole articles. He receives raw materials, puts his touch on them, and passes them to another worker in the series. When the articles are quite finished they are carried out of sight by currents of commercial exchange. These currents are untraceable.

I guess for me - in the TV commercial world I was known for shooting locations, beautiful landscapes and things like that - so, it's interesting.

So many commercial orgs have software where you can come and modify it but they still control everything. And what's controlled is very clearly what's good for their business, or if they're more progressive, their view of what's good for the Internet.

For they (capitalists) hold as their chief heresy, in a coarser form, the fundamental falsehood that things are not made to be used but made to be sold. All the collapse of their commercial system in their own time has been due to that fallacy of forcing things on a market where there was no market; of continually increasing the power of supply without increasing the power of demand; of briefly, of always considering the man who sells the potato and never considering the man who eats it.

I want to be commercial, so imagine Disney people mixed with underground techno people... mixed with sass. An example of an underground techno person would be that French artist Yelle. She's all in French, so I can't understand a word she's saying, but her beats are really cool, and that's something that I want to do...but mix Disney in there, and that's what I want.

We live in oppressive times. We have, as a nation, become our own thought police; but instead of calling the process by which we limit our expression of dissent and wonder ‘censorship,’ we call it ‘concern for commercial viability.

In practice, I've had a presence in China since 1998 with my commercial spaces and shops.

When "Search and Destroy" by the Stooges came on as a Nike shoe commercial, I got physically sick. That song meant the world to me, and I didn't feel this was the way it ought to be used.

I saw a commercial for an above-ground pool, it was 30 seconds long. Because that's the maximum amount of time you can picture yourself having fun in an above-ground pool. If it was 31 seconds, the actor would say "The water is only up to here? What do I do now? Throw the ball back to Jimmy? Or put some goggles on and look at his feet?"

The best bands kept making records and had this evolution, where by the end, by their commercial phase or sellout phase, the records are from outer space.

I try to keep away from being big-headed. That's what causes people to lose the acting thing. They start being commercial, and then they stink for the rest of their lives.

So my resolution this year is: I'm not a money guy, but I want to make our next product a commercial success, so that people will say, 'Hey, there's a huge market out there. If you make a high-quality games that can touch people, it's going to do great business.

Everyone thinks that Fight Club is a very important and successful film, but it was a massive box-office failure. Massive. It was a big flop by any commercial-release standard. And it's been a huge hit on DVD. Everything that movie has become has been on DVD. So you can't stake your sense of creative success on this whole box-office-performance matrix, because if you do, you're going to be disappointed most of the time.

We are not coaching on a daily basis because we often travel with our charity and commercial interests.

Americans live under the delusion that enterprise here is both private and free. It may be nominally private, but it's anything but free. Unfortunately, most people don't know what freedom is. So they are unfazed when they hear that before you can do anything of a commercial nature, you need government permission.

I've really only had one (dream) since I got into this business at 13 years old, which was to be in this business forever. Once I did my first television commercial, I caught that itch and that bug. I want to be a part of pieces of art - as far as cinema is concerned - that people will want to see for generations to come. That's my dream.

Maoris now own over half the commercial fishing industry in New Zealand.

Me and my family growing up, we cleared our land built our homes and all that. So, I was very well knowledgeable in the construction world. That turned into a commercial development company and construction company.

When I started getting notoriety it was cheesy to appear in a commercial.

I really do think that our subconscious gets corrupted with fear, and fear is how news media - all media - makes us [watch] long enough to get to the Tide commercial. That's all it's about. Generating fear so that we can buy the proper laundry detergent.

I largely agree with those that hold that Government should not in general interfere with the course of the economy merely on the strength of its own commercial judgment. If we cannot rely on the judgment of individual businessmen, taking their own risks, we have no future anyway.