Commercial movies have to end with moral flags flown again and all that.
My first gig was a Corn Pops commercial. I did the first Vanilla Coke campaign. A Juicy Fruit commercial paid my bills for years.
We’ve managed to have a long career that is still quite vibrant, yet we’ve never had to kow-tow to record companies who said we weren’t commercial enough.
This is Port of Spain to me, a city ideal in its commercial and human proportions, where a citizen is a walker and not a pedestrian, and this is how Athens may have been before it became a cultural echo.
My sister Mathilde is an actress, but more like a French Jennifer Aniston. She’s famous just in France. She’s very commercial and does big comedies. So, acting was part of my family, and that’s how I was raised.
I didn’t really go the starving-artist route. I kind of went and did massive, commercial things.
I got my SAG card doing a Kentucky Fried Chicken commercial in Chicago.
I think that any writer who is commercial, who sells a lot of books, has to face criticism. Because the more hermetic and the more difficult your book is, supposedly it’s better.
I would say take any work you can get. Don’t pass on something if it’s a commercial. Take it. Work really does lead to other work. Especially if you’re just starting out, work begets work.
Virtual reality sort of encloses and immerses the person into an experience that can be really cool but probably has a lower commercial interest over time. Less people will be interested in that, but there are some really cool areas there for education and gaming that we have a lot of interest in.
The end of commercial fishing is predicted long before the middle of the 21st century.
I definitely feel closer to the feminine side of the human being than I do the male – or the American idea of what a male is supposed to be. Just watch a beer commercial and you’ll see what I mean.
The success of Watermark surprised me. I never thought of music as something commercial; it was something very personal to me.
Casting directors don’t necessarily want a more recognizable commercial face. Sometimes, they want a lesser known person.
Someone once said that history has more imagination than all the scenario writers in the Pentagon, and we have a lot of scenario writers here. No one ever wrote a scenario for commercial airliners crashing into the World Trade Center.
My favorite commercial I did was my Verizon campaign, which I filmed a series of three commercials. My favorite movie I have done was ‘House Under Siege’ because it was my very first movie at 5 years old. My favorite TV show I have filmed was ‘The Night Shift,’ which is one of my favorite shows.
I was in a commercial for the Disney channel. I was the camp leader for the campers.
I toured with Skrillex, did an HBO commercial with Diplo. In the hip hop movement, I was the first artist Travis Scott ever featured with before he blew up. I had the songs with Chris Brown and Tyga. I’ve worked with some of the biggest artists in the world.
Commercial success and quality are not necessarily allied.
I am not saying that I won’t do big commercial films.
Commercial real estate always trails residential, and as residential growth flourishes, shopping centers flourish and service the communities, and jobs come out.
I don’t want to look back at my career and see a string of incredibly commercial projects that don’t have much heart. I’m looking for things that have soul.
There are many different kinds of PCs. You have fixed, virtual, tablets, notebooks, ultrabooks, desktops, workstations. What you find in commercial PCs, business PCs, is that there’s a really long tail of usage on client devices.
I started with commercials – for shampoo, pancakes, insurance, Volvo. I did a Lux soap commercial with Sarah Jessica Parker. And I got a role in an indie film called ‘Satellite’ that did well in festivals.
Back then people closed their eyes and listened to music. Today there’s a lot of images that go with the music. A lot of music is crap and it’s all commercial and the images are all trying to sell the record.
I loved singing rock-and-roll, jazz, anything on radio, anything commercial. I was able to do anything, but I didn’t know what direction to go in.
You look at the instrumentation, and you can’t really argue that we set out with commercial aspirations. Banjos and things like that are not part of some formula for global success. But it felt right, and I think there’s some value to purity of intention.
My first audition was for a Dr. Pepper commercial.
What’s so kind of beautiful about the whole thing was that everything that made me not right for all of those hundreds of commercial auditions that I went on and no one ever wanted me for is what made me perfectly right for ‘Real Women Have Curves’.
I don’t care about commercial success. I get to do what I love and communicate whatever I want.
We need to differentiate between commercial piracy – where criminal organisations produce illicit DVDs on a huge scale – and domestic, unauthorised filesharing, which may or may not be detrimental to overall sales.
I would never do a commercial if I thought it was offensive to anyone.
In every commercial state, notwithstanding any pretension to equal rights, the exaltation of a few must depress the many.
But I never had that commercial opportunity to be played on the radio, so how could I be popular?
The commercial space industry owes a huge debt to Patti Grace Smith. There might not be a commercial spaceflight industry were it not for Patti’s leadership.
It’s interesting that the wondrous ‘Hamilton,’ which I could not be more ecstatic about, has taken a long time to perfect to bring it to Broadway. And it wouldn’t have been possible if it was developed in the commercial theatre from the get-go.
Artistically I like to do short-term things. Like I do a lot of commercials, I have the Miller commercial out where I play the Devil in Hell, where Hell is frozen.
Since JPMorgan Chase announced its surprise $2 billion-and-growing trading loss, there have been renewed calls from economists, pundits, and politicians to reinstate the Glass-Steagall Act, a Depression-era law that prevented commercial banks from participating in investment banking activities.
It is not to be disguised, that a war has broken out between the North and the South. – Political and commercial men are industriously striving to restore peace: but the peace, which they would effect, is superficial, false, and temporary.
There are many kinds of movies in Hong Kong. Some are commercial and others are more artistic.
Architectural kitsch is most common in the commercial pop vernacular – typified by the Big Duck of 1931 in Flanders, New York, a Long Island roadside poultry stand resembling a duck, which Venturi and Scott Brown made a cult object through their writings.
When I did have a little bit of commercial success, it really didn’t suit my temperament at all. I’m a terrible public person.
I do occasionally encounter a British business that delivers what and when, and for exactly the price, they promised. But commercial paragons in the U.K. are rare.
Publishers are born connectors; they bring like-minded people together. They are also conversationalists of the first order. They foster the interaction between the three key parties in commercial media: the audience, the author/creator and the marketer.
Life is like a movie-since there aren’t any commercial breaks, you have to get up and go to the bathroom in the middle of it.
I’m not commercial, I’m not for Special K cereal and I’m not a Wheaties boy; I’m a little bit more avant-garde, a little bit more out there.
I would love to do anything from a really gritty, interesting, indie type film, to that commercial, bigger stuff.
It is so important for designers not to run scared, and not to be too worried about what’s safe and what’s commercial.
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.
People know that I have a great love for cinema. Not just for commercial cinema, but for the ‘cinema d’auteur.’ But to me, two of the great ‘auteurs’ are actually actors and they both happen to be French. One is Alain Delon and the other is Jean-Paul Belmondo.
My work is not generally in the commercial sector. However, I’m not worried by the commercial sector. I refuse to work in any other way except the way that I work.
My first time playing a main character was in ‘Seventeen Years.’ It was directed by famous Sixth Generation director Zhang Yuan, but it wasn’t a large commercial film.
For me, as an actor, there is no commercial or independent or art cinema. For me, it’s a character that is given by the director. And it is a task for me that I have to fulfill it to the best of my ability regardless of the kind of film that it is.
Making independent films is liberating. It eliminates self-censorship, which mainstream films are infected with due to commercial priorities.
A characteristic of older folksongs, in most cases, is that we don’t know their composers or authors. Older folksongs were written often with no commercial purpose in mind. They were passed down by word of mouth, from generation to generation.
The problem is, with a lot of children’s films, they are very commercial.
