Quotes About Commercial

A game concept is a description of a game detailed enough to begin discussing it as a potential commercial product—a piece of software that the public might want to buy.

I started doing commercials in 2008 right after we released 'Death Race,' and the reason was that I spent two years prepping Death Race and building all these custom rigs to shoot cars in the most dynamic and exciting way.

For a while every commercial was a dancing one. Remember when girls were dancing around salt and coffee cans?

I grew up in a renaissance period, a very lucky time when the greatest music ever made was also the most commercial. We'll never see that again, so for me, there's only one criteria, which is greatness. That's all I care about. Is what I'm doing reaching for greatness? Whether I achieve it or not, that is one hundred percent of my criteria.

The payment made by a manufacturer to a patentee for the privilege of using the patent process, is usually termed, in commercial language, a rent; and under the same head must be ranked all extraordinary qualities of body and mind.

If the demand for home commodities should be diminished, because of the fall of rent on the part of the landlords, it will be increased in a far greater degree by the increased opulence of the commercial classes.

To me, I approach a small-budget, artsy, European movie the same way as a big commercial Hollywood movie. That's the most important thing. Hollywood usually represents this big dream in people's minds, but to me, it's just hard work.

The Internet is working because it's free and open, and there's no discrimination. Without these rules, ISPs could treat content differently based on commercial interests or even ideology.

All businesses should have an element of social enterprise, and all social enterprises should not ignore the most important lessons from successful commercial businesses.

As a cameraman, I am interested in images and truth. Today, people are conditioned to accept lies if they are commercial lies. What we don't see anymore is ethics.

I am essentially a hack, a commercial person. If I had a hobby, I would immediately make money on it or abandon it.

All the music that I've made in the past I've believed in. I think some of it has been more commercially successful than others, but it wasn't premeditated.

You have to have commercial income so you can spend on players.

Doing the Best I Can' is a sure fire hit. Incredibly commercial. But what could you say about it? Catchy and good to dance to. But 'Nothing Rhymes' is different. A much bigger risk but it was lyrics people could talk about. So that was the one to launch me on.

I'm indeed excited to be termed as a hero who can command commercial respect in two languages at the same time.

Independent films, for the most part, to me, are not so independent. They often feel like people auditioning for a big commercial career. They often do not have independent spirit to them.

In 2013, I got a phone call out of the blue from Jason Sudeikis. He said there was an NBC commercial that they wanted him to do, and if we did it, we'd get to go to London for three days. I thought, 'Wow, three days in London. Unbelievable!'

I wake up every morning bolt upright, whether it's a commercial, not that that's a good thing or a bad thing, because I shoot commercials in between movies. But whether it's a commercial or a movie where I'm shooting a major train wreck, the thing that worries me most is when I'm doing a performance thing.

I don't think it is an easy thing to write and expect to be commercial, even if you are from Venus and a hermaphrodite.

Copywriting probably did make me a commercial writer. Nobody wants to read advertising copy, so you have to keep it punchy; you almost have trick them into reading it. You have to make every sentence work.

The chasm between independent film and commercial film is now so wide. You either have to be super-famous and get a first-time director or writer's indie script off the ground, or you're a newcomer and go and put a cape on for four years.

It has always been very difficult for writers to survive commercially in India because the market was so small. But that's not true at all any more. It's one of the world's fastest growing and most vibrant markets for books, especially in English.

My personal experience has been that in my 25 years of writing, I have not been asked to do more than four or five commercial one-shot scripts. These were performed on major national hook-ups but produced for me no immediate additional jobs or requests. One script for BBC was done around the world with an all-star cast.

I ordered a cheeseburger and a beer from a waitress who looked as though she wanted to be in one of those want-to-get-away? commercials. She called me hon. I love when a waitress calls me hon.