Quotes About Commercial

In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.

In many ways, I am very happy about the whole Linux commercial market because the commercial market is doing all these things that I have absolutely zero interest in doing myself.

I would never do a commercial for something that is embarrassing, and I think that people maybe have a different perspective on what is embarrassing or not. Some people think doing a Revlon hair commercial is really cool. To me, that's embarrassing, but World of Warcraft: not embarrassing, very cool.

We have feudal governments in a commercial age. It would be but an easy extension of our commercial system, to pay a private emperor a fee for services, as we pay an architect, an engineer, or a lawyer. If any man has talent for righting wrong, for administering difficult affairs, for counselling poor farmers how to turn their estates to good husbandry, for combining a hundred private enterprises to a general benefit, let him in the county- town, or in Court-street, put up his sign-board, Mr. Smith, Governor, Mr. Johnson, Working king.

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.

I can be inspired by anything. It can be from an artist, I love Georgia O'Keefe, de Kooning, Jackson Pollock, Lichtenstein, Koons- I love them all. I can be inspired by an artist, a dream, something that I pass by, I was even inspired by a commercial! A commercial of whale war- I was so sad that people were killing whales to extinction, so I made a painting of that. So I can really be inspired by a lot of things.

People have an absolute right to believe what they want to believe and to say what they want to say, and churches have an absolute protection to preach and do and not do whatever they choose to do within their houses of worship. But nondiscrimination laws apply to the commercial marketplace and they do protect all of us.

It's high time for the art world to admit that the avant-garde is dead. It was killed by my hero, Andy Warhol, who incorporated into his art all the gaudy commercial imagery of capitalism (like Campbell's soup cans) that most artists had stubbornly scorned.

The rocket that goes up next March will not only lift a payload, it will launch what I believe will ultimately be the most significant commercial space facility in the country, ... This launch will be a brilliant signal flare that will let the nation and the world know New Mexico's spaceport is open for business. We can now say with certainty that the dream of this spaceport launching a new era in New Mexico's aerospace industry will become reality.

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.

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.

Every nation has to follow a certain policy: Commercial, trade, various other types of policies.

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 rarely listen to commercial radio, and when I do, I'm shocked by how many ads there are, and how annoying they are, and how bad the radio station usually is.

Plus, publishing's inherent conservatism, means that what little did get through was weighted towards the commercial end of the scale, which is not the kind of writing that excites me.

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.

To me, country music is like the blues, but it's something very hip and - I don't want to say commercial - but it's very worldly and good listening.

That means I gotta fly like a movie no commercial That's Young Money, Cash Money yeah I'm universal

I love commercial music! I can dissect it and criticize it with any critic in the business. But without any thought, I just enjoy it. It's folk music. That's what I'm doing, folk music. I'm not intellectualizing it . . . and making it into a phoney art form. I'm just doing the music I enjoy.

I also think I could probably repeat the commercial success; whether I want to or not is a different matter. I think there is still better work inside me.

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.

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.

First in point of time and interest comes the mortgage debt, i.e. the claim for the return of money lent on the security of some tangible object. Such claims are among the earliest fruits of a commercial civilization, and are nearly always affected the same way, viz. by the deposit or pledge of the security with the creditor, to be redeemed or returned on the payment of the debt.

I liked it because it was such a dangerous script and showed just what human beings are capable of. Here was a movie in which Morgan Freeman and Brad Pitt, who always win in every movie they ever do, simply don't win. I felt that was outrageous for a commercial movie.

There's a bunch of songs that I call B-sides on the record that you could argue could maybe have some potential commercial success with another artist, but for me, they just felt really whack.

Audiences can tell when you're being fake and they will eat you alive. But if you're doing something authentic they will connect to it and that can lead to commercial success.

Some of the commercial work I do is helping people to improve their presentations and add some design thinking. There are so many amazing things in science, and such great data, which can often be locked away. It's in the minds of these amazing practitioners, who can't necessarily express what they want in a visual way.

One thing that struck me about going to those tech conferences was all the enthusiasm for free culture, and remixing, and social media, but people's greatest ambition was to be sponsored by Chipotle or something equivalent to that. It was this weird mix of collaborative, utopian claims and this total acquiescence to commercial imperatives.

Lots of media people ask me what do you think of yoga in the gyms, and what do you think about this article and what do you think about that, and how about it's so commercial now. I say, look, whatever gets people turned on to it.

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.

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.

If you import a commercial quantity of illegal drugs. It is because you have made the personal decision that you are prepared to get rich by destroying our children. I have made the decision that I love our children enough that we will kill you if you do this.

The saying "Getting there is half the fun" became obsolete with the advent of commercial airlines.

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 try to preserve a certain amount of time away from the movies, so I don't allow time to do those smaller parts that might give me an opportunity to do more seemingly 'artful' things. Although, having said that, I don't feel any lack of noble purpose if I do a film that's commercial.

All consumption should be local. No food products need to be transported over hundreds of miles to market. All commercial fishing should be abolished. If local communities need to fish the fish should be caught individually by hand. We need to stop flying, stop driving cars, and jetting around on marine recreational vehicles.

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.

"Government gets things right" does not encourage sales. "Government makes another blunder" does encourage sales, so there's a commercial imperative that pushes sensationalism.

For they (capitalists) hold as their chief heresy, in a coarser form, the fundamental falsehood that things are not made to be used but made to be sold. All the collapse of their commercial system in their own time has been due to that fallacy of forcing things on a market where there was no market; of continually increasing the power of supply without increasing the power of demand; of briefly, of always considering the man who sells the potato and never considering the man who eats it.

The fact that the commercial success of my books has allowed me to buy a house for myself and my daughter I think is a lovely thing. I don't think there is anything wrong with that.

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.

It's kinda crazy to say, but the way Jay [Duplass] and I stay afloat, because we don't make particularly commercial fare that makes a lot of money, is that we make things cheaply and we make things small. We would kind of be afraid to go make a $100 million movie because you have to do certain things to it to have it make its money back.

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.