Quotes About Commercial

I also think if you're an actor and you can improvise, when you go on an audition and you can improvise you're just a genius. If you can, you know, take a Tide commercial and you can just say one funny line that's not in the commercial they think you're a genius.

The novel may be dead as a commercial form. When art forms things die as commercial forms, something happens to the practice of those arts that isn't very pleasant. It used to be that a poet like Tennyson could keep his house and his coach-and-four and his staff of six servants on the income from poetry. That doesn't happen anymore.

The key to terror, the key to terrorism, is not the act - but the fear of the act. That is why bin Laden and his deputies and his imitators are forever putting together videotaped statements and releasing virtual infomercials with dire threats and heart-stopping warnings. But why is the Republican Party imitating them? Bin Laden puts out what amounts to a commercial of fear; The Republicans put out what is unmistakable as a commercial of fear. The Republicans are paying to have the messages of bin Laden and the others broadcast into your home.

The position of children as a group, in a commercial society, is not wholly advantageous. A commercial society urges its citizens to be responsible for things, but not for people. It is the unquestioned assumption of a mercantile culture that things need and deserve attention, but that people can take care of themselves.

I have always made commercial music. The people who vote for the Grammy nominees are mostly in their 40s and have other jobs or are musicians themselves. They like music that they can relate to - they like commercial music.

One engaged in a commercial pursuit. A commercial pursuit is one in which the thing pursued is a dollar.

Commercial record has never interested me. It's amazing I was in a band like The Police that had such phenomenal commercial success. Part of what made The Police what it was was that we didn't all come in with obvious mainstream musical tastes. We were a rock band and somehow we had to make rock music, but it was informed by a lot of things outside of the mainstream for sure.

Mainstream media would convince you that there's commercial culture and that's all - but this other music is still here.

The people who were learning from me tended to be more commercial performers who were gonna rip off the salient idea to do it in a way that will sell, but they weren't going for the music.

Nations, as well as man, almost always betray the most prominent features of their future destiny in their earliest years. When I contemplate the ardour with which the Anglo-Americans prosecute commercial enterprise, the advantages which befriend them, and the success of their undertakings, I cannot refrain from believing that they will one day become the first maritime power of the globe. They are born to rule the seas, as the Romans were to conquer the world.

I think there are readers out there and I don't think the book is dead. And more importantly I don't think readers have to choose between literary and commercial fiction.

The average TV commercial of sixty seconds has one hundred and twenty half-second clips in it, or one-third of a second. We bombard people with sensation. That substitutes for thinking.

For some reason, everyone says "fashion is responsible for skinny models." I don't believe that myself. I believe consumers dictate commercial success and trends in a capitalistic society. So I believe if consumers wanted to see - like, who decided that Barney the Dinosaur was going to be a million-dollar industry?

Commerce is so far from being beneficial to arts, or to empire, that it is destructive of both, as all their history shows, for the above reason of individual merit being its great hatred. Empires flourish till they become commercial, and then they are scattered abroad to the four winds.

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.

I gladly, I voluntarily gave up the kind of commercial film career I had going as soon as I had enough money to finance my own films. I didn't make that money necessarily from the film business, but I eventually made a lot of money and that's what I do. Of course, I consider myself unbelievably fortunate, and I'm pretty content with my life.

Many young web designers view their craft the way I used to view pop culture. It's cool or it's crap. They mistake Style for Design, when the two things are not the same at all. Design communicates on every level. It tells you where you are, cues you to what you can do, and facilitates the doing. Style is tautological; it communicates stylishness. In visual terms, style is an aspect of design; in commercial terms, style can communicate brand attributes.

I was blessed to be part of a commercial, pushing for this energy bill, but we've been unsuccessful.

My belief is firm in a law of compensation. The true rewards are ever in proportion to the labor and sacrifices made. This is one of the reasons why I feel certain that of all my inventions, the Magnifying Transmitter will prove most important and valuable to future generations. I am prompted to this prediction not so much by thoughts of the commercial and industrial revolution which it will surely bring about, but of the humanitarian consequences of the many achievements it makes possible. Considerations of mere utility weigh little in the balance against the higher benefits of civilization.

We trust things more when they look like they were done for the love of it rather than the sheer commercial value of it.

Miranda Lambert is actually mixing the singer-songwriter philosophy with the commercial country [mindset]. And I find it just inspiring. My hat's off completely, because she's pulling it off, and I couldn't figure out a way to do it.

Oh, could slavery exist long if it did not sit on a commercial throne?

Human experience comes suspended in the sickly-sweet amniotic fluid of commercial photography. And a world normally animated by abrasive differences is blithely reduced to a single, homogeneous National Geographic way of seeing.

Fashion should go back to what it should be: closer to art, not totally commercial but have some artistic value at its core.

Listen closely. There’s a remote possibility that you might learn something: First, I don’t give a damn if my work is commercial or not…I’m the writer. If what I write is good, then people will read it. That’s why literature exists. An author puts his heart and guts on the page. For your information, a good novel can change the world. Keep that in mind before you attempt to sit down at a typewriter. Never waste time on something you don’t believe in yourself.

...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.

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.

I would hate to have "Holiday in Cambodia" become as tiresome to other people as hearing "Like a Rock" in a Chevrolet commercial.

I don't hold it against Dizzy [Gillespie], you know, but if a guy wants to play a certain way, you work towards that. If he stops - he's full of crap, you know. I mean, I wouldn't do it, for no money, or for no place in the white man's world. Not just to make money, because then you don't have anything. You don't have as much money as whoever you're trying to ape; that's making money by being commercial. Then you don't have anything to give the world; so you're not important. You might as well be dead.

We are here predominantly to support independent filmmakers and their needs. We are also here to assist people actually in their production, non-commercial people in their production.

A lot of today's campaigns are based on optimum positioning but are totally ineffective - because they are dull, or badly constructed, or ineptly written. If nobody reads your advertisement or looks at your commercial, it doesn't do you much good to have the right positioning.

I saw how you could get away with such a free-spirited, naturalistic sensibility in a mainstream Hollywood movie, and you could apply a lot of the skills of the '70s icons that I really admire to a contemporary, commercial movie.

Yoga has been something that's always there to take with me and practice throughout any journey. There's no place I've ever been where yoga hasn't fit itself in. I currently work on a commercial fishing boat in Alaska and I am still able to find time to lay my mat on the deck and practice what makes me the best me I can be, thanks to yoga.

Your attitude is more important than the events happening around you. Artists develop a syndrome taught in art schools. It is a malady titled, 'Artistic Temperament'... rudeness, excuses, slovenliness, laziness, clutter, addictions, non-commercial attitudes, un-professionalism... and a good reason for failure.

A war for a great principle ennobles a nation. A war for commercial supremacy, upon some shallow pretext, is despicable, and more than aught else demonstrates to what immeasurable depths of baseness men and nations can descend.

Movies which set out to be 'commercial' usually have an artificial look about them-a certain waxlike quality. They allow for no failure, no moment of mistake.

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.

Whenever you think you're writing what other people want to hear from you, and that it'll be commercial, you're doomed to disaster. Writing has to be as truthful and specific as we can make it. The minute we think that we're reaching more people and pleasing them, we get general. And audiences sense that and turn away, shun us.

The Concerned Photographer produces images in which genuine human feeling predominates over commercial cynicism or disinterested formalism.

As the ongoing industrial crusade to turn all earthly life to commercial purpose relentlessly impoverishes the biosphere and human culture, our living images of graceful possibility dwindle.

Is there any man here or any woman, let me say is there any child here, who does not know that the seed of war in the modern world is industrial and commercial rivalry?

All of us have read the stories about young people in Hollywood and all the challenges they have to confront there, and I think that artistically, I really didn't understand the commercial side of the film business, so I went back to a purely artistic setting.

That's the power of great insights. Insights, not ideas. There's a difference. Ideas, valuable though they may be, are a dime a dozen in business. Insight is much rarer -- and therefore more precious. In the advertising business, a good idea can inspire a great commercial. But a good insight can fuel a thousand ideas, a thousand commercials.

The commercial work of today is the classics of tomorrow.

What I do is work for three or four years and then I take a year off, and then I come back again and work for three or four years and then take another year off. It is not about just working and then writing for a year. That is not how it is structured. It is about doing very conscious goal-driven activities for four years and then taking a year off in complete surrender to discover facets of myself that I don't know exist and exploring interests with no commercial value associated with them at all.

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.

Marriage had certain commercial advantages. By it the man secures the exclusive right to the woman's body and by it, the woman binds the man to support her during the rest of her life.... A more disgraceful bargain was never struck.

My parents had an independent theater company here in Sweden during the 1980s, so I was raised watching my parents create independently, having a lot of fun and just doing what they wanted to do. I think that idea of independence as an artist was something I was always used to. And then I entered the industry from a very commercial perspective, and things were very different then from what I grew up with.