Quotes About Commercial

I want to make a film that is commercially successful because that means that the larger cinema-going audience around the world like the movie, which is my goal. That's my job, to make films that people respond to.

I'm going to work on food culture and help food become fun and part of peoples' lives again. The traditional restaurant is more commercial-oriented. But I want community through food.

Most movies now are drama, and the commercially successful ones are, sadly, about adulterous relationships.

When I see some of the work in the commercial PC sector, some of our top focus is in India.

I am all for high art but I owe it to myself to be clever about it and do commercial things too.

Hindi commercial cinema has denigrated women. We owe a debt of ingratitude to Bollywood for having insidiously polluted our culture covertly.

I paint landscapes, figuratives. I painted all my life. In fact, I started as a commercial artist.

I would like to be part of sensible cinema, irrespective of whether it is a commercial or niche film, but it doesn't always pan out like that.

I don't think that three minutes of music on a commercial record is going to bring paradise, but I feel like there is power in music and power in our words and power in what we put out into the world.

Personally, I might be all for parallel or experimental cinema, but when I'm making a film, I don't mind adding a commercial tadka.

My first job was a commercial for Ball Park Fun Franks.

Electronic aids, particularly domestic computers, will help the inner migration, the opting out of reality. Reality is no longer going to be the stuff out there, but the stuff inside your head. It's going to be commercial and nasty at the same time.

I think American cinema, particularly, has become so disposable. It's not even cinema, It's just moviemaking.

Our fathers were actually business partners in the same real-estate firm, and we got together and thought, How can we get a movie together and get distribution and create a new movie genre? We started by making satires of commercials.

You'll be boarding the nine twenty-one commercial flight as Shirley and Roderick Cliphorn." "Roderick Cliphorn?" Dan groaned. Only someone with a name like Sinead Starling would have considered that normal.

I sometimes feel a bit afraid about the commercial world with, on the one hand, the imperatives of getting it done because the customer needs it next week and, on the other hand, the sheer breadth rather than depth of the systems that we build.

Some of the martial arts films, the motivation is about martial arts. That's where it's coming from. It is a visual, commercial film, to showcase the next stunt, the biggest thing. And character development becomes a side thing.

The way it works in commercials is they come to you with the script, and then you do the visual, you do the storyboards, and you give your vision of it, but it's very much their baby. You just kind of put your polish and sheen on it and your interpretation of it, but it's very much the agency's idea.

Neighbor is no longer confined to the vocabulary of the individual. It is a national word. Modern inventions have annihilated distance. Commercial relations have broken down barriers of race and religion, and the family of nations is a recognized fact.

This thing that I do with caring about the message in my music, it's not separate from my work as a commercial artist; they're totally one and the same. I'm always going to be thinking about what my voice means.

I was, aged nine, the go-to kid in Minneapolis for a commercial voiceover.

I did a bunch of commercial voiceovers in Chicago before I left. For Balducci's pizza, I did a whole series. Actually I was making a good living with voiceover before I left.

I have always made commercial music. The people who vote for the Grammy nominees are mostly in their 40s and have other jobs or are musicians themselves. They like music that they can relate to - they like commercial music.

I want to make sensible commercial films.