I've decided something: Commercial things really do stink. As soon as it becomes commercial for a mass market it really stinks.
My first commercial was an Old Navy commercial where I stood in line in front of a club, and Fran Drescher was in it.
I loved cutting together simple commercials about margarine or soft drinks - all kinds of silly products - but I tried to make the commercials different.
I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.
I read rip-and-read news, but I wasn't a reporter. I was reading the wire, and the other thing was, I was reading commercials - and I could do a hell of a commercial.
I think I'm commercial underground. I'm not commercial in the way that people consider 'pop,' but I'm not underground in the way that people consider that. either. I am just a cool guy.
I think the challenge in hour television or half-hour television is that the more it's around, certainly on commercial television, the less time you have to tell stories these days, because the more commercials they're putting in.
When we moved to L.A., I started going out for more commercials, and then one day they emailed me a movie script. The first thing I said was, 'No way. I love commercials.'
I have always made commercial music. The people who vote for the Grammy nominees are mostly in their 40s and have other jobs or are musicians themselves. They like music that they can relate to - they like commercial music.
My first gig was a Corn Pops commercial. I did the first Vanilla Coke campaign. A Juicy Fruit commercial paid my bills for years.
Investment banks manage to go bankrupt through their investment-banking activities, commercial banks manage to go bankrupt through their commercial-banking activities.
I have cut four albums so far, and all of them have been trendsetters and commercially successful. I believe that once you start taking art in commercial terms, it ceases to be art.
I did a lot of commercials early on, and I remember the first commercial I ever got was for a product called Funyuns. I had to eat these chips for, like, 12 hours straight.
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.
Producers generally don't like me; directors do, generally. Convincing the producers is hard. They can't see the commercial value behind such a face, nor would they get a commercial value, necessarily - and I don't mean that in a good way or a bad wa...
A month before graduation I got an off-Broadway job. Then I did some commercials, including one for MCI. You can only see half of me, but it paid well. Thank God for commercials.
So many things for me are unfortunate in the commercialization of something that is special. It's like when Led Zeppelin appears in Cadillac commercials. There's something that is taken away from your love of this thing and your connection to it.
During this period, Japan's peaceful commercial relations were successively obstructed, primarily by the American rupture of commercial relations, and this was a grave threat to the survival of Japan.
But if anyone supposes that there was no commercial fraud in the Middle Ages, let him study the commercial legislation of England for that period, and his mind will be satisfied, if he has a mind to be satisfied and not only a fancy to run away with ...
A film has to be for commercial success as well as earn you respect as an artist. You don't want to do only things that are designed to run commercially, and neither do you want to do things that get acclaim but don't run.
