Quotes About Commercial

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.

As a matter of fact 25% of our U.S. investment banking business comes out of our commercial bank. So it's a competitive advantage for both the investment bank - which gets a huge volume of business - and the commercial bank because the commercial bank can walk into a company and say, "Oh, if you need X, Y and Z in Japan or China, we can do that for you."

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.

I always thought I was commercial. I always thought I was writing hit singles. These days, whatever's on the radio is considered commercial. People like what's on the radio, whatever it is.

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.

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.

My forever mission is to take the best elements of both commercial and independent films and bring them together. I learned so much about the art of independent films and I have so much fun in commercial ones. I think that a mix of both is good.

Young women who have experienced commercial sexual exploitation and domestic trafficking face an incredible climb as they try and exit the commercial sex industry and develop to their full potential.

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.

To get a name can happen but to few. A name, even in the most commercial nation, is one of the few things which cannot be bought . It is the free gift of mankind, which must be deserved before it will be granted, and is at last unwillingly bestowed.

This is so weird. I saw the new John Kerry campaign commercial and he says, 'I'm John Kerry and I approve of this message - if I have one.'

I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.

Now the time comes that I decided I only will do art films, basically. In a way, very similar to Isabella Rossellini. I prefer to work only with people like Lars von Trier or Guy Maddin or Gus Van Sant, just to name a few. But also there's bills to pay, and sometimes you have to make a movie. So my decision from now on is art movies, or movies which are commercial, but for real money. That is my decision.

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

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!

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.

Each year-in the fields, commercial kitchens, markets, stores, and restaurants-millions of pounds of food go to waste... We need to find ways to get this food into the mouths of the hungry and not into the mouth of the dumpster.

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.

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

The only advice I have for youth is to date outside your race. I just think it's so cute when I see little kids in interracial relationships; it makes me feel like I'm watching a commercial.

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

Warhol's images made sense to me, although I knew nothing at the time of his background in commercial art. To be honest, I didn't think about him a hell of a lot.

If you increase the number of rockets you build and you buy, then it's the scale of the economy, the price is going to come down. It may not come down in order of magnitude, but if several commercial ventures start being successful and there becomes a bigger market for these rockets, the price will naturally come down a bit. That's why I think Excalibur Almaz, we're a little bit unique in that we don't look at our so-called competition with disdain, we want them to succeed and it needs to have more than one player. Even if we are successful, we couldn't handle the entire market ourselves.

Mostly with commercial work, it isn't about personal vision. It's not a personal effort, it's work for hire. That's more my attitude with those. You just want to be a professional worker.

There are still to be found visionary or designing men, who stand ready to advocate the paradox of perpetual peace between the states, though dismembered and alienated from each other.... The genius of republics, say they, is pacific; the spirit of commerce has a tendency to soften the manners of men, and to extinguish those inflammable humours which have so often kindled into wars. Commercial republics, like ours, will never be disposed to waste themselves in ruinous contentions with each other. They will be governed by mutual interest, and will cultivate a spirit of mutual amity and concord.

London Fashion Week is so different from any of the others. Compared to the strictness in New York, London seems freer from commercial constraints. Truer to the process, to street style, to a sense of humour.

I have a dream, and a plan, to combine the commercial possibilities of Valentine's Day with the substance and meaning of black history month. I call it: Blackentine's Day.

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.

Before my commercial career, I never played for more than an audience of 99 seats somewhere in downtown New York, but occasionally someone would recognize me in the subway and say, "Oh, I saw you in that play, you were really great in that," or "the director was really something." It becomes a conversation. When people spot me on the street from my work in commercials, there's nowhere for the conversation to go. Obviously I'm an actor and I can't.

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 test of friendship is assistance in adversity, and that too, unconditional assistance, Co-operation which needs consideration is as a commercial contract and not friendship. Conditional co-operation is like adulterated cement which does not bind.

I love to design. I am a commercial fashion designer. I always design jackets with two sleeves. I don't design jackets with three sleeves, or the layers and layers come off like little dolls from Russia. Fashion for me is a creative endeavor, but it is not art for me.

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

I was cast in this commercial called "Hour After Hour." It was for a deodorant that won't wear off. And [Susan Sarandon] became the Hour After Hour girl after me. But I never met her. So I didn't really know Susan till after this movie [ "The Big Wedding"].

Working for an older house is a great opportunity, but it's also a big responsibility. The fortunes of a lot of people and families are based on what the results of my collections are, and how successful they are on a commercial level, and how big an impact they have on a trade level as well. So I think I'm a little bit more chill about that.

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.

We live in oppressive times. We have, as a nation, become our own thought police; but instead of calling the process by which we limit our expression of dissent and wonder ‘censorship,’ we call it ‘concern for commercial viability.

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?"

I like to be challenged with language, so I start to do texts for my blogs that people can download, can spread. There is no commercial interest behind it. It's only for fun, like doing something that you really enjoy to do. I have texts that I write specifically for the internet and I put them there. I am interested in how readers also respond to the texts that I write to them.

But there's no way round it-commercial success is a mark of failure for a graffiti artist. We're not supposed to be embraced in that way. When you look at how society rewards so many of the wrong people, it's hard not to view financial reimbursement as a badge of self-serving mediocrity.

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

I think if you sing a song for the first time to your mom and dad, or your friends, and they go, 'That's pretty cool'-if you're playing at the local bar somewhere, or the coffee shop, singing songs, or if you have a gig somewhere and you're singing your own songs, I think that's some version of making it. ... It's not just about having commercial success; it's about having a great life.

Of course, I did lots of what would be called graphic design now, what used to be called commercial art.

I like alternating commercials with movies, because it keeps the pace up. You can't slack on a commercial. You need to go fast. That's a terrific piece of action, I think if that was scheduled for a movie, you'd put that in for two or three days worth of work.

It was difficult in India to find an eight year old who could play a widow. The reason for that is that most of the children in India are really exposed to Bollywood. It's commercial Indian cinema which is really over the top. To find an actor, or even a non-actor, who felt natural was difficult.

I worked at all kinds of jobs, mostly commercial editing.