Quotes About Commercial

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

This one commercial said, "Forget everything you know about slipcovers." So I did, and it was a load off of my mind. Then the commercial tried to sell slipcovers, but I didn't know what they were!

I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.

The '90s were a time when not just the movie business, but every aspect of American life, became a lot more corporate. There's a line in Jonathan Franzen's essay "Perchance to Dream" about how "the rich lateral dramas of local manners have been replaced by a single vertical drama, that of commercial generality." I wanted to examine that great homogenizing force that came in during the '90s, since Hollywood seemed a place where it was particularly active.

You can't reinvent the wheel. You've got to just take the best from all the other shows and try to make it work, because there's the "live show Gods" that dictate if there are going to be any surprises, if there's a very commercial film that's a Best Picture. There are a lot of things that are out of my control, but I do my best.

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?

Most countries want to bring their people together and tear down physical, commercial and cultural barriers. Anyone who proposes separating them is out of line.

Above any commercial success one might enjoy, one's reputation for honesty is the most important thing

My grandparents in Istria had a frasca, which is about the most basic kind of grocery/restaurant. They sold wine from their own vineyard. I took control of the vineyard, hired a local winemaker, and bought another winery in 1996. We had our first commercial vintage in 1998.

I do remember that I was sitting in the make-up chair before the shoots for a commercial or film or other, and I thought: Sometime soon they are going to make a close-up of me and millions of people can see how many pimples I've got on my cheeks.

I still make more money as I do as an actor than director, however I don't want to be a commercial director.

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.

Why is non-commercial public expression considered criminal?

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

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.

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

What you of the CHOAM directorate seem unable to understand is that you seldom find real loyalties in commerce. ... Men must want to do things of their own innermost drives. People, not commercial organizations or chains of command, are what make great civilizations work. Every civilization depends upon the quality of the individuals it produces. If you over-organize humans, over-legalize them, suppress their urge to greatness - they cannot work and their civilization collapses.

I was able to work with two heads. If anything, doing ads and other commercial work were at least exercises in discipline.

With space travel, [it's] no different. You know, in 1990 I read the name Virgin Galactic Airways. Loved the name. And set out to try to find an engineer or rocket scientist in the world who could build a safe, reusable rocket that could take people to and from space and we could start a whole new era of commercial space travel.

Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.

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.

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

I'm a provincial. I live very much like a hermit: reading, listening to music, working in the cutting room, writing, commercial work - which doesn't take up that much time.

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.

I rang my friend Jim Wolfensohn, who was then running a private commercial bank in New York. I said, "Come up to Vancouver", and he did. I put my proposition to him. He said, "I think it could work." I said, "Will you help us?" He said, "Yes." So, I set aside senior people in our treasury and they worked with Wolfensohn and the investment sanctions were applied. And that's what brought the regime down. The last South African Finance Minister, Barend du Plessis, went on record as saying that it was the investment sanctions that put the final nail in the coffin of apartheid.

All I'm saying, as a fan, is I'm tired of the same song for 30 years. Can't we change the message a little? You've arrived. You have a black president. Every white guy in a commercial doesn't have to be the idiot and every black guy in a rap song doesn't have to be God's gift to the world.

The commercial paper market, when that dries up, you know, that's just like sucking the blood out of the economic body of the United States.

You know, the Super Bowl is so fresh that every single commercial is even on, you know, some next-level entertainment.

The commercial for Diet Dr. Pepper says it tastes just like regular Dr. Pepper. Well, then they screwed up!

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

As long as I don't end up hosting a skin care commercial with Cher, I'm happy.

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

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.

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.

Mars is really different, into art. Lydia Lunch is more energy. James Chance is more commercial in a different way, in funk and jazz. They were all doing original things, trying to create their own sound and music. I think they're all great.

I do craft songs, that this is designed. It's almost like the song was written to produce this desired effect. And it probably really works for somebody. It's maybe somebody's favorite tune, and it's really hard to come down on that, even if I feel a little embarrassed for it. Because some songs are written like a commercial, and that can be a little strange.

The so-called "remake" is simply a commercial formulation of a much deeper exchange which accounts for the way cinema is what it is.

The reward of commercial civilization is the ability to consume a never-ending array of products.There are limits beyond which commodities cannot be multiplied without preventing their consumers from affirming themselves through the exercise of their personal freedom.When market dependence reaches a certain threshold it deprives people of their power to live creatively and to act autonomously. And precisely because this new impotence is so deeply experienced, it is expressed with difficulty.

In commercial fiction especially, everything in the story usually contributes directly to the plot The shorter the story, the truer this is

The irony is I did an intimate film in France with no stars and that got me to Hollywood. It got me to the Oscars. If I had tried to imitate the Americans or the Hollywood movies with a commercial recipe, I'd never have gotten to Hollywood. Although, it was not my goal in any way, and I never thought there was any connection between Monsieur Lazhar and the Oscars.

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?"

People get passionate about a song. It's been my experience if you put out radio candy, something commercial, it doesn't sell records.

The education of the common people requires, perhaps, in a civilized and commercial society, the attention of the public more than that of people of some rank and fortune.

Bernie [Ecclestone] is the commercial rights holder so the more outgoing the champion is, the better. Of course. I also do think about our sport and want to make an effort - but in my own way. I am Nico [Rosberg] and not Lewis [Hamilton]!

Before my commercial success, I had difficulty doing what I wanted, but my sincere short films always won prizes in festivals. So I was ready for larger successes.

...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.

Almost all of the governments have agreed that they will not acquire nuclear weapons and that they will allow the International Atomic Energy Agency to monitor their commercial and research nuclear power operations to ensure that nuclear materials - highly enriched uranium and plutonium - are not diverted to use in weapons.