I was very outgoing, and a good-looking kid. I started doing all the catalogs. I made 60 commercials by the time I was 6. I must have been a natural, because I never took an acting lesson.
Because these show are live, script pages are being switched during the program and new commercial teases might be yelled in your ear with just enough time to scribble them on scrap paper before reading them.
[after cracking a secret code] Ralphie: [Reading it] Be sure to drink your Ovaltine. Ovaltine? A crummy commercial? Son of a bitch!
Commercial Voice-Over: It's back. Big is back, because bigger is better. 6000 SUX - an American tradition! [caption on screen says "An American Tradition. 8.2 MPG"]
Most independent filmmakers in Britain and North America work for commercial crews and then have their own projects when they've got enough money saved up to do so.
Rather than going through a commercial banking training program, at the first bank I ever worked in, I was the chairman. And it was my own money, so we loaned it out like it was my own money.
And so I was doing that and starving and somebody said you should model and I ran when they told me how much money you could make and I did a television commercial the first job.
Over-commercialization and its resulting restrictions and limitations can be very damaging and distorting to the inherent nature of the individual. I did not deliberately abandon my fans, nor did I deliberately abandon any responsibilities.
Invention is not enough. Tesla invented the electric power we use, but he struggled to get it out to people. You have to combine both things: invention and innovation focus, plus the company that can commercialize things and get them to people.
The Olympic Games are highly commercialised. They purport to follow the traditions of an ancient athletics competition, but today it is the commercial aspect that is most apparent. I have seen how, through sport, cities and corporations compete again...
As artists, we'd all love to not be commercial - to not sell out to the full extent that we are able. But you do what you have to do to pay New York rent and continue to do what you feel strongly about.
With literary fiction, generally a film maker falls in love with a book. In commercial fiction, it's a producer or studio falling in love with a book they can make into a movie with worldwide appeal.
I didn't want to be told what to do. I don't want to water down my music to fit into their formats. I know what rock and roll is to me, but everything's turning into one big commercial.
I'm looking to produce more stuff: TV shows, commercials, music videos and short films. I'm building my catalog so I can have some fun in between the times that I get to a movie.
I'm a provincial. I live very much like a hermit: reading, listening to music, working in the cutting room, writing, commercial work - which doesn't take up that much time.
The 12 years that I was improvising are why I got the number of commercials I got when I was in New York and why I got 'The Devil Wears Prada,' and it's why I even got in the door for 'Mad Men.'
I honestly don't even know how I got into acting. It happened so quickly because my mom and sister used to do commercials, and apparently when I was little I would unbuckle myself from the stroller and crash their auditions.
I was almost 8 years old when I was watching a kid on a TV commercial, and I told my mom that I wanted to do the same thing. She said that I would need to get an agent and that she would research it.
I did a couple of movies in Brazil, and the actors were incredibly congenial and hung out together a lot. Even the biggest stars would do radio commercials - they're not put on a pedestal like they are in the United States.
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.
We are here predominantly to support independent filmmakers and their needs. We are also here to assist people actually in their production, non-commercial people in their production.
