Quotes About Commercial

Tampon commercial, detergent commercial, maxi pad commercial, windex commercial - you'd think all women do is clean and bleed.

I got hit up for a tampon commercial and so I asked [JD and Jo] if they had anything. Jo sent that over and I was like, "I love this track. Oh my god. It's so upbeat. It's so positive. It would be so great for a tampon commercial." That commercial never came through, so then I just had it. I was like, "That would be great for a Hillary [Clinton] song." I think it's so funny that it could be a tampon commercial.

I was asked to do a test commercial shoot for an Apple product which didn't mean much to me at the time. Some music player that holds all your songs. Sounded cool to me and I never gave up an opportunity to work, especially with the possibility of it turning into a national commercial. Coolest job I did in that time.

I would never become a big, big model in the commercial sense because I was such a type; you couldn't use me in everything.

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.

Obviously the commercial news media tries to get you worked up and terrified so you'll buy products that they're advertising.

Even while starting out I took things very seriously; I wasn't the sort of kid that would do a doll commercial or do a series for Nickelodeon. They asked me to do silly things, and I wasn't a silly kid.

When I started making music, I made music in a very commercial space and I didn't have room to really explore things on my own terms. It took me awhile to create a little bubble where I could explore other things, and new things. When I did that, my tools were songwriting and arranging.

The future is about wings and wheels and new forms of space transportation, along with our deep-space ambition to set foot on another world in our solar system: Mars. I firmly believe we will establish permanence on that planet. And in reaching for that goal, we can cultivate commercial development of the moon, the asteroid belt, the Red Planet itself and beyond.

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.

India, in particular, is looking to develop nuclear power for domestic, commercial use, and we should work with them. This is a good deal for both countries.

I walked into my agency and I said, "You know what? I can't do this. You're telling me I need to go on a diet? My diet is already zucchini only. What do you want me to do?" And basically, they gave me two options: either stay the way I was and do commercial work, or do plus size modeling. I remember having the usual salad but I added walnuts and salmon and olive oil and I thought, "The world didn't blow up!"I felt fantastic. I wanted to keep that feeling so I made a decision that day that I didn't care. There was more money to be made being healthy.

...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'm done with girls on rocks! I've painted them for thirteen years and I could paint them and sell them for thirteen more. That's the peril of the commercial art game. It tempts a man to repeat himself. it's an awful thing to get to be a rubber stamp. I'm quitting my rut now while I'm still able.

It seemed that after he was killed, Gadhafi's body was stored at a commercial freezer at a shopping mall. It's one thing to hunt a guy down and shoot him twice in the head, but then to drag him to the mall? Come on, guys hate that.

All military and most commercial aircraft use our designs that process power from jet engines.

It is amazing how little effort most people make to improve control of their attention. If reading a book seems too difficult, instead of sharpening concentration we tend to set it aside and instead turn on the television, which not only requires minimal attention, but in fact tends to diffuse what little it commands with choppy editing, commercial interruptions, and generally inane content.

If you wanted to create jobs in a way that has minimal effect on the deficit but has government action, the two best things you could do are the infrastructure bank and a simple SBA-like loan guarantee for all building retrofits, where the contractor or the energy-service company guarantees the savings. So that allows the bank to loan money to let a school or a college or a hospital or a museum or a commercial building unencumbered by debt to loan it on terms that are longer, so you can pay it back only from your utility savings. You could create a million jobs doing that.

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.

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.

I wouldn't want to do a Bollywood film per se, but I would like to do an Indian-language film. For some reason I think Bollywood has become synonymous with commercial cinema, which is song and dance and everything that is larger than life, and I am interested in the reality.

Rather than simply interrupting a television show with a commercial or barging into the consumer’s life with an unannounced phone call or letter, tomorrow’s marketer will first try to gain the consumer’s consent to participate in the selling process.

The wireless music box has no imaginable commercial value. Who would pay for a message sent to nobody in particular?

The challenge is to manage the Web in an open way-not too much bureaucracy, not subject to political or commercial pressures. The U.S. should demonstrate that it is prepared to share control with the world.

Poetry died as a commercial form and then it died as a serious art form. No one serious touches it. It used to be that somebody like F. Scott Fitzgerald could make a high middle-class income from working as a short story writer for the Saturday Evening Post and other outlets. That doesn't happen anymore. It used to be that a legitimate playwright could make a living on Broadway from writing decent plays.

The budget acknowledges the importance of maintaining our ports and waterways to encourage commercial deep-draft navigation and economic competitiveness.

The only thing that takes away from it is when they steal some music from one of my movies and put it in a TV commercial. I am not crazy about influencing TV commercials. But if I legitimately influence someone making a movie, I think that is really flattering.

Like commercial stuff is sort of cheap and disposable and fun and can be sort of interesting in many ways. I love being in popular culture and existing in the evolution of popular culture. But it's so different from painting, and it's so different from that sort of slow, contemplative, gradual process that painting is.

Every once in a while a messy character who manifests a REAL body emerges, for instance, Lisbeth Salander - and certainly commercial genre fiction is full of examples of real bodied sexual encounters or violence encounters - but for the most part, and particularly if you are a woman or minority author, your characters' bodies have to fit a kind of norm inside a narrow set of narrative pre-ordained and sanctioned scripts.

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.

I've never done anything for money. My first love is things of limited commercial appeal. I could be happy doing Shakespeare for the rest of my life.

The Shuttle is to space flight what Lindbergh was to commercial aviation.

At the foot of the mountain, the park ended and suddenly all was squalor again. I was once more struck by this strange compartmentalization that goes on in America -- a belief that no commercial activities must be allowed inside the park, but permitting unrestrained development outside, even though the landscape there may be just as outstanding. America has never quite grasped that you can live in a place without making it ugly, that beauty doesn't have to be confined behind fences, as if a national park were a sort of zoo for nature.

Playing live is a lost art, and you don't see a lot of bands that go out and play the way the older bands do. It's a celebration, and a lot of people treat it like a commercial or a distraction.

I own myself the friend to a very free system of commerce, and hold it as a truth, that commercial shackles are generally unjust, oppressive and impolitic.

Viewers have a way of remembering the celebrity while forgetting the product. I did not know this when I paid Eleanor Roosevelt $35,000 to make a commercial for margarine. She reported that her mail was equally divided. "One half was sad because I had damaged my reputation. The other half was happy because I had damaged my reputation." Not one of my proudest memories.

I was always amazed about how much I could finally squeeze into a thirty second commercial.

...if you are writing without zest, without gusto, without love, without fun, you are only half a writer. It means you are so busy keeping one eye on the commercial market, or one ear peeled for the avant-garde coterie, that you are not being yourself. You don't even know yourself. For the first thing a writer should be is-- excited. He should be a thing of fevers and enthusiasms.

The 1960s was probably the first time in history that young people were recognized as a big group of consumers and as a commercial proposition for Madison Avenue. Advertising played a major role in creating the ethos of that era - the idea that, "Here it is, and you can have it now." I know that many kids thought that the ethos of the 1960s was due to their own peculiar virtues, but, in fact, it had a lot to do with the realities of the marketplace and commerce.

Swarmers run the risk of skittering like water bugs on the surface of life. By being quickly and constantly connected, they can avoid deep contact in time-consuming and meaningful ways... You're flitting from one place to another. You're more likely to pursue superficial engagements rather than deep pursuits. It contributes to this certain MTV approach to life where you engage in something for a few minutes and then there's a commercial... You have to get a grip on reality. Unless you know what is real-what is a real friendship and relationship-neither can have an effect on you.

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

I do note that photography, a despised medium to work in, is full of empty phonies and worthless commercial people. That presents quite a challenge to the man who can take delight in being in a very difficult, disdained medium.

The great rule of conduct for us, in regard to foreign nations, is in extending our commercial relations to have as little political connection as possible... Why, by interweaving our destiny with that of any part of Europe, entangle our peace and prosperity in the toils of European ambition, rivalships, interest, humor, or caprice?... It is our true policy to steer clear of permanent alliances with any portion of the foreign world.

I watched the video [ with my first commercial] when I was 20, and in the video, there are two families. The first family is this smiling blond Partridge family, a Californian/Aryan kind of thing, all playing guitars, all singing together and harmonizing. And then, there's my family - and in my family, it starts with my mom saying that she feels like a drill sergeant sometimes, and she's yelling at one of my brothers to stop hitting another one of my brothers. It's just like, "Great, we're that family." It felt a little Simpsons versus Flanders.

The real success story of branding in recent decades has been the way in which companies have used their brands to turn the satisfaction of complex and even spiritual needs into commercial transactions.

I think cyber security, cyber warfare will be one of the biggest challenges facing the next president, because clearly we're facing at this point two different kinds of adversaries. There are the independent hacking groups that do it mostly for commercial reasons to try to steal information that they can use to make money.

We supported the cooperative movement among farmers. The movement was still young and stubbornly opposed to the commercial distributors. I believed it to be one of the most helpful undertakings, for according to my social theories any organization run by citizens for their own welfare is preferable to the same action by the government.

People don't want to pay for pitches. They want to see it. If you hear one more time, "Well, that's execution-dependent." Everything's execution-dependent! If there's something that's going to be a little bit more interesting than The Untitled Slinky Movie, then I think that writers that want to do interesting work and at the same time commercial work need to put it down on paper. So agents and producers that writers are working with are encouraging them to get it on paper because the studios like to see what they're buying rather than just imagine what it could be.