People should realize that I shot a Coke commercial back in 1986. So, you know, I've been around a long time. I carry my Screen Actors Guild Card.
For example, the first time McDonald's put a deaf person in a commercial they saw a jump in sales. I think that happens with other kinds of disabilities and products and that is something that is being realized more and more.
It might be hard to remember this far back, but once upon a time, some of us hoped that public TV would develop into a smart, sophisticated, civilized alternative to commercial TV - not a cheap imitation of it.
It's a cruel, heartless world out there in commercial rock 'n' roll, and when you take as much time off as we did, eight years, booking agents don't know if you'll draw.
Algren: My thanks, on behalf of those who died in the name of better mechanical amusements and commercial opportunities.
When I met Apple, I made it very clear that I am an old punk and I have never done commercials or been sponsored. And I wasn't after their money.
Money's never an issue. I can go and work for a small studio theatre somewhere if it's a play I really care about, or do TV or a big commercial West End show.
I am essentially a hack, a commercial person. If I had a hobby, I would immediately make money on it or abandon it.
Certainly we're going to continue to see those commercials that I call 30-second drive-by shootings. And they're going to have a lot of money to do it. But we're going to combat it.
I've spent over 25 years in the television industry, the direct response industry. I met a lot of people and certainly learned the power of commercials and their brand building potential.
At the time of Polaroid - and I did a couple of other commercials just before I stopped doing that stuff - at that point I was at the level where they respect you and your opinion and all that sort of thing.
Years of imprisoning and beheading writers never succeeded in shutting them out. However, placing them in the heart of a market and rewarding them with a lot of commercial success, has.
One of the obvious things that went wrong with Multics as a commercial success was just that it was sort of over-engineered in a sense. There was just too much in it.
Commercial success still hasn't come to an artist that isn't signed to a record label. There are very few artists that can succeed without the help of a record label. The role of the record label is still required, it's still necessary.
I never really think so much about commercial success; I usually just think about records that move me, and 'Baby Got Back' was one that moved me.
A commercial society whose members are essentially ascetic and indifferent in social ritual has to be provided with blueprints and specifications for evoking the right tone for every occasion.
My products and magic are free, but on the commercial side of what I do, the big tech companies are impressed with somebody like me who can emotionalize a piece of technology.
At the same time all this was happening, there was a folk song revival movement goingon, so the commercial music industry was actually changed by the Civil Rights Movement.
I never do anything to strictly satisfy a fickle, ever-changing commercial world. I do the music I like to play. It's the only way I feel comfortable existing in the industry.
I don't feel as though I've graduated from commercials or music videos. In my mind, they aren't compartmentalised.
I started growing my audience in small clubs through word-of-mouth. I started making music that isn't necessarily commercially viable, and it's not necessarily marketable to my peers to a certain extent.
