Quotes About Commercial

Also, the commercial media in a superior position, really, to any other corporate lobby, because where would people hear about commercial media or corporate media criticism, where would they hear criticism of them other than in the commercial media?

It is said that anyone who does commercial cinema is not acting, and anyone who does an art film is acting. I don't believe it. I feel whenever you are doing a film, you are acting. So you need to be applauded for that. I won't do art house cinemas. I want to make commercial films. I want my films to make money.

I saw this anti-drug commercial that showed a kid smoking pot in his dad`s room with his friend. This kid finds a gun, the gun accidentally goes off and kills his friend. Only in America is the villain in this commercial not guns or bad parenting, but pot.

Investment banks manage to go bankrupt through their investment-banking activities, commercial banks manage to go bankrupt through their commercial-banking activities.

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.

People should realize that I shot a Coke commercial back in 1986. So, you know, I've been around a long time. I carry my Screen Actors Guild Card.

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.

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.

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.

A television advertisement must illustrate the scientific method to substantiate any claim.... That is why stains are lifted, ring-around-the-collar is removed, paper towels become soaked, excess stomach acid is absorbed, and headaches go away-all during the commercial.

As for me, tough duty though it may be, I continue to do my part for the commercial recreation industry. Fishing, boating, tennis, golf, running, hunting, and all of this. Horseshoes. It's tough duty. Somebody has to do it, and I'm going to keep on.

The definition of happiness being very emotion-oriented - the problem is that there's too many quick and dirty ways to chase that in ways that end up being unhelpful to people. If you just have another martini or even more severe substances. But commercial culture and our media is constantly encouraging us to think that if we feel good we live well. We're only too happy to sell you goods and services from the dancing oivoids and the pill you can take, or the trips or the cars or the clothes or the women that you can get with - whatever that is that will give you the quick route to that.

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.

The first interview I went on I got at age 5. It was a commercial for First Federal Bank.

It was never my goal to capitalize on punk. I could never make it as a commercial artist. I didn't back then and I still don't have the temperament and don't care for drawing or painting or making art for any other purposes other my own.

Commercial real estate always trails residential, and as residential growth flourishes, shopping centers flourish and service the communities, and jobs come out.

In the mid-fifties, a revolution occurred and a new word entered the vocabulary of commercial art. Concept... But the change was not entirely good. Our gain was also a loss... There was great value in something well observed and carefully delineated. If the head and heart were often absent, there was something to be said for the presence of a hand.

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.

It does get frustrating having the cameras on you all the time, because if you make mistakes, then the whole world knows about it. Like, it's not just your family and friends, it's everyone. Sometimes I'll watch myself on TV and ask myself, What am I doing, I am the biggest geek. My friends will call me and say, "OMG. Have you seen that commercial of you, you look like such a nerd."

I don't know what the misconceptions are, but I approach a small budget, artsy, independent movie in the same way as a big budget, commercial Hollywood movie. I don't get into those [details]. I have to get into my character and I concentrate on that, on the story, on researching, and on certain training if I have to be prepared physically. I think that's the most important thing.

A lot of animal experiments consider only commercial interests. We want to ban all animal experiments as soon as possible.

Comedy is not commercial; it is risky, because what is funny in one place isn't always funny somewhere else.

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.

To televisionize any serious problem, the program directors face the task of making the message 'go down smooth' until the audience is delivered to the commercial.

It's pretty hard to make out what's going to be a commercial success and what's not.

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

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.

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.

I am not a commercial industry creator. I don't believe in making art to make money.

Shareware tends to combine the worst of commercial software with the worst of free software.

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

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.

In the commercial theater, I've been pretty fortunate. The producers that I've worked with have allowed me to define the artistic integrity, the artistic limits of the work.

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.

I've had the same friends I've always had. I mean, I've lost a few over the years. Hate to use the word "success," but I don't know what else to say, but some people are more affected by that than others. I've had the same core group of friends that I've always had. We're surfing, so that definitely keeps you grounded. Just when I think I'm cool because we're playing these massive shows or having some sort of commercial success, I can always be reminded how small I am when I try to surf a wave that's a little bit out of my league, and I just get pummeled.

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.

Religion has always been the picklock of imperialism. Let them try to convert the heathens, and when they fail, we shall send in the French Navy to protect them and our political and commercial interests.

The truth is not in the commercial media because the truth is a dagger pointed at its heart, which is its pocketbook.

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.

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.

I was always flattered, but I just want my movies to make money. I want to be commercial. I'm never the person who says, "I don't care if people don't see my movies." I always want people to see my movies.

Nor was civil society founded merely to preserve the lives of its members; but that they might live well: for otherwise a state might be composed of slaves, or the animal creation... nor is it an alliance mutually to defend each other from injuries, or for a commercial intercourse. But whosoever endeavors to establish wholesome laws in a state, attends to the virtues and vices of each individual who composes it; from whence it is evident, that the first care of him who would found a city, truly deserving that name, and not nominally so, must be to have his citizens virtuous.

Rock became an incredible commercial success, people just became bored with serious music, and it was forgotten.

We like to think of industrialization as being despicable. I don't really know what to make of it. There’s something terribly brittle about it. I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter. There are certain things that are usable, forceful, and vital about commercial art. We're using those things – but we're not really advocating stupidity, international teenagerism, and terrorism.

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.