Quotes About Commercial

I'll be honest, acting in a commercial film has its perks - crazy stardom, crazy money and frequent trips abroad - but why would I aspire for something I'm not cut out for?

I'm a very practical actor, and having an artistic triumph that's a commercial flop doesn't do you any good, in any phase of show world.

I was painting sets, working in editorial as an assistant, driving their trucks, lying that I knew how to drive a truck, and doing commercials and documentaries.

If a film becomes successful, the actor is blamed for being commercial and not having a true love for movies. When we do serious films, we will be blamed for not planning our career properly. I believe that what one should do is to make good cinema and try to make it successful.

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 generally use 'threat intelligence' when I'm talking about a product packaged and sold by a dedicated commercial entity and 'information sharing' as something that happens between security teams at trusted parties without renumeration.

The truth is an artist like me who doesn't get the type of promotion that we see more commercial artists receive, and especially in this climate of the music business, you have to be creative about how you promote yourself.

I don't call myself an 'industrial designer,' because I'm other things. Industrial designers want to make novel things. Novelty is a concept of commerce, not an aesthetic concept.

To book commercials, you do something to get to a callback, and once you get to the callback, you've got three minutes to get the people to want to hang out with you for a day.

I still make more money as I do as an actor than director, however I don't want to be a commercial director.

Television doesn't want to admit it has those dreadful roach ads on anyway.

I've heard some tunes in recent years that were pretty close to that same idea. The idea was you turn on the radio and you want to hear some music and up comes a commercial.

My ambition is to have this wonderful gift produce practical results for the future of commercial flying and for the women who may want to fly tomorrow's planes.

When you go to commercial, you want something to call the viewers back, and if you don't have a decent act out, the audience probably won't be there in the numbers you want when the show returns.

For people who want to get into the voiceover industry, even if you want to get into commercial, you need to become a really, really good actor.

We can't tell particularly smart stories if we want to keep our audience big enough to pay for these big spectacle films that we want to do.

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.

Psychotherapy/educational cults, which have enjoyed great popularity, purport to give the participant "insight" and "enlightenment." Commercial cults play on people's desires to make money. They typically promise riches but actually enslave people, and compel them to turn money over to the group. None of these destructive cults deliver what they promise and glittering dreams eventually turn out to be paths to psychological enslavement.

I invented the phrase: "Music not to be listened to." That was my commercial phrase with which I sold Muzak. It was the first music deliberately created to which people were not supposed to listen. It was a new kind of background music. That's why my mother, who was a fine musician, held it in contempt. She wouldn't have it in her apartment. Anybody who knows anything about music holds Muzak in contempt.

I liked the so-called Volcker Rule. I would have separated investment banking and commercial, deposit banking, as we did under the Glass-Steagal Act. I would have brought back Glass-Steagal.

Veer Zaara' changed people's outlook towards me. It was my first so-called commercial film.

By the way, all the major awards that I have won are for so-called commercial movies.

My first modeling job was Gap, and my first time in front of the camera was for a Soda Pop Girls commercial - it's one of those Bratz dolls, Barbie dolls... one of those.

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.