The tensions are always based on financial resources. Something like film is very problematic because it is viewed as an art form and also as an industry with a pure commercial base.
What cultural revolutionaries do not seem to grasp is that, far from being a grass-roots art form that has been taken over by businessmen, rock itself comes from the commercial exploitation of the blues.
I love the gallery, the arena of representation. It's a commercial world, and morality is based generally around economics, and that's taking place in the art gallery.
The concept of commercialism in the fashion and art world is looked down upon. You know, just to think, 'What amount of creativity does it take to make something that masses of people like?' And, 'How does creativity apply across the board?'
I'm enamored with the art world. Anytime you look at anything that's considered artistic, there's a commercial world around it: the ballet, opera, any kind of music. It can't exist without it.
How is the United States at once the most conservative and commercial AND the most revolutionary society on Earth?
The boy I used to know as Thomas Merker has been erased--replaced with a personality programmed by television and commercials to act a certain way.
The radio signal was scrambled, and so were my eggs. I got tired of eating commercial breaks for breakfast.
It is extremely difficult to do anything constructive, let alone deep, on daily commercial television, especially on a talk show.
My first job was a McDonald's commercial. It made me want to wake up at 4 A.M. to do something I loved. I haven't been the same since.
I watch TV more than I used to, and the commercials don't impress me. The standard of execution is very high, but the standard of ideas is appalling.
I think I came to see Islam, or at least one part of Islam, as an important defense mechanism against the commercialization of the world.
Soon, the viewer won't even know if he's watching on broadcast or the Internet. He'll just be eating his cereal and see an image on the spoon. That's how we'll be watching soon, on spoons. The commercials will be on the knives.
The only reason I made a commercial for American Express was to pay off my American Express Bill" - Peter Ustinov, 1921-2004
While I remain troubled by the Corps' inability to fully justify the Model they used for their commercial traffic predictions, America clearly has an aging lock and dam infrastructure on the Mississippi.
We made records to document ourselves, not to sell a lot of records. I still feel that way. I put out a record because I think it's beautiful, not necessarily commercial.
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.
It must be said that it is challenging to balance uncompromising artistic integrity with commercial requirements, but I've also come to learn that couture clients are adventurous and particularly unpredictable in their taste.
My first job, actually, was a Chicago Bulls commercial. I was a ninja. I walked with a limp for a week afterward and got paid 500 dollars 6 months later. Thanks, guys.
I produce the records. I don't hand over control to some really expensive producer who then talks to the record company and then tries to bend me to their will - for commercial purposes.
Every commercial covers different ground, different ideas, and it's my profession to direct and to tell stories - for me, it's very organic.
