Quotes About Commercial

As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.

I was in a commercial when I was three. My godfather was a director and a producer of commercials. He took me in along with his kids and I couldn't remember my lines. I giggled my way through the commercial and they kept it.

We both [with Jo Andres] think that it is really important to our culture that we support all kinds of music, all kinds of theatre and all kinds of art because you never know what moves people. We've always believed that there should be a strong voice outside the commercial world. Certainly, the commercial world has a huge place in our culture and we also support that - but, we also want to support the stuff that lives outside of that.

There are two aspects to making movies: One is the feeling of wanting to push myself into stuff that I don't know how to do. Then there's the other impulse to try and earn a living. I want to be careful about not confusing those too much - not that those things can't have a healthy overlap. Plenty of people start out making work that isn't terribly commercial, and then make work that's more commercial but still good. You just want to watch out for that thing where you tell yourself that you're doing your best work when you're not.

I think some people record songs and make records a certain way to cater to radio. If you're born to make commercial music that's cool. But if you're born to not make commercial records, maybe you're meant to cater to another market.

But if anyone supposes that there was no commercial fraud in the Middle Ages, let him study the commercial legislation of England for that period, and his mind will be satisfied, if he has a mind to be satisfied and not only a fancy to run away with him.

It never occurred to me that I’d be typecast, although I was. And I never thought of the role as a commercial product, because I was… well, I was playing this slightly messianic alien. He isn’t violent, he doesn’t get his leg over the girl, he doesn’t steal, and he’s rather wry, and adorable, and mysterious. He’s lived for 900 years or something. He lives the life of the old patriarchs of the Old Testament. That’s not commercial. He’s special.

The Victorians pioneered numbers of commercial rackets about which their descendants complain (the manufacturers of Bovril, it appears, were virtually official sponsors of the Boer War).

I never bought the commercial thing, at any stage of the game.

Managers all over the world will go crazy when their artists are not touting the party line and making things pretty in the way that they're supposed to, but it's different when your manager is your husband. It's contrary to your soul. That commercial interest presses in upon your whole personal life.

You can do a lot with a commercial break - you can change days, you can suggest the passage of time. So sometimes that's a great thing artistically, to know that's going to be there. Obviously you'd always prefer that people see it straight through, and you don't want them to be taken out of it by advertising, but that's the reality of what's paying the bills here.

I seriously hate pop music and all things super-commercial, so I'd be hard pressed to feel embarrassed by anything I listen to. Besides, I have a three-year-old, so I don't have time for guilty pleasures anyway!

I used to be a jazz snob, believe it or not. I sort of turned my nose up at anything more commercial.

My father was an expert hunter, so we ate a lot of wild game when I was growing up in Montana. That helped broaden my palate generally, but I know it informed my distaste for factory farms and unspectacular commercial meat.

The Steve Jobs who founded Apple as an anarchic company promoting the message of freedom, whose first projects with Stephen Wozniak were pirate boxes and computers with open schematics, would be taken aback by the future that Apple is forging. Today there is no tech company that looks more like the Big Brother from Apple’s iconic 1984 commercial than Apple itself, a testament to how quickly power can corrupt.

My take on the whole dot-com bubble was that a lot of people who wanted to make a lot of money got too excited and hyped up the commercial aspects of the Internet prematurely. I think the vision of the Internet as a democratizing medium - as everyone's printing press - is real. We got distracted from that by the mass hallucinations of the bubble.

I didn't really go the starving-artist route. I kind of went and did massive, commercial things.

In France a lot of songs were ruined by their associations with commercials. But so far no Apple commercial has ruined a song for me.

The BBC, during its 24 hours on the air, plays a very wide range of stuff. And it's not commercial.

You come downstairs, turn off the TV, and then and your son says, 'Daddy, I want to get that wrestling set, and all the pieces are sold separately.' The minute he quotes a commercial verbatim, that's when he's had enough TV.

When any creativity becomes useful, it is sucked into the vortex of commercialism, and when a thing becomes commercial, it becomes the enemy of man.

War seems to me to be a mean, contemptible thing: I would rather be hacked in pieces than take part in such an abominable business. And yet so high, in spite of everything, is my opinion of the human race that I believe this bogey would have disappeared long ago, had the sound sense of the nations not been systematically corrupted by commercial and political interests acting through the schools and the Press

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].

Films with female protagonists don't attract many eyeballs. Most of them are perceived as feminist films. If Bollywood starts giving women major roles in entertaining movies, then the audience, too, will open up to the idea of watching commercial films in which the actresses do more than just play the role of the hero's love interest.

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.

The tensions are always based on financial resources. Something like film is very problematic because it is viewed as an art form and also as an industry with a pure commercial base.

Compared with now when almost everyone knows what graphic design is and has some sort of access to the tools to make it, back then, it was really esoteric, you had to quantify it as being 'like commercial art', as one still does in certain circles. It was a strange thing to want to do for a living.

We all know we have a problem, a broad problem. Ninety-eight percent of the fuel that is used by our vehicles, our autos and trucks for personal and commercial purposes, for highway and air travel operates on oil. The world has the same problem.

The bad things the U.S. health care system are that our financing of health care is really a moral morass in the sense that it signals to the doctors that human beings have different values depending on their income status. For example, in New Jersey, the Medicaid program pays a pediatrician $30 to see a poor child on Medicaid. But the same legislators, through their commercial insurance, pay the same pediatrician $100 to $120 to see their child. How do physicians react to it? If you phone around practices in Princeton, Plainsboro, Hamilton - none of them would see Medicaid kids.

The government needs the help of industry. But the reality is companies will balance that against their own commercial interest in a very competitive market.

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.

I certainly wouldn't want a song that I'd already written to be used on a commercial. That seems strange.

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.

I've been employed by the University of Helsinki, and that has been paying my bills. Obviously a ''real job'' pays better than most universities will pay, but I've been very happy with this arrangement I get to do whatever I want, and I have no commercial pressures whatsoever doing this.

Representative government has broken down. Our politicians represent not the people who vote for them but the commercial interests who finance their election campaigns. We have the best politicians that money can buy.

At the base of the Fed pyramid, and therefore of the bank system's creation of "money" in the sense of deposits, is the Fed's power to print legal tender money. But the Fed tries its best not to print cash but rather to "print" or create demand deposits, checking deposits, out of thin air, since its demand deposits constitute the reserves on top of which the commercial banks can pyramid a multiple creation of bank deposits, or "checkbook money."

We live in a world in which the only utopian visions arrive in commercial breaks: magical visions of an impossibly hospitable world, peopled by bright-eyed attractive men, women, children... Where nobody dies... In my worlds people died. And I thought that was honest. I thought I was being honest.

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 Velveeta commercial and it was playing, I think 'Burning Love.' He [Michael Jackson] had approved it - that's something we can't control. He can do whatever he wants with the songs he owns to make money, and that got under my skin.

Diversity is power on the Web. Big sites may be bigger, but smaller sites will keep scoring higher for specialized topics, both in terms of their connections with users and in terms of each visit's commercial value.

The commercial work of today is the classics of tomorrow.

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.

In case you're wondering what we all do here during the commercial breaks, mostly we just sit around making catty remarks about the outfits you're all wearing at home.

Christine O'Donnell released a commercial in which she says, 'I'm not a witch.' That's pretty good, though not as effective as her opponent's slogan, 'I'm not Christine O'Donnell.'

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.

The whole process of getting licenses to broadcast, which took place decades ago, was done behind closed doors by powerful lobbies, and wealthy commercial interests got all the licenses with no public input, no congressional input for that matter.

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.

I think you have to satisfy yourself first and foremost. There have been records I've been really, really pleased with that haven't connected with people. But I felt good about them. If you're making music, you must want to turn other people on to it, whether you're number one in the charts or number 60. I don't know, that's a commercial thing, but just the fact that other people like you... there's no point in making music, otherwise. Otherwise you might as well make it in your bedroom and leave it there.