I was modeling since I was four and acting in commercials since I was five - this was when I was in New York. I then moved to LA when I was 16... but before that I had done a play on Broadway.
People think I should be a multi-millionaire if I had gotten the right contract. I'm not getting anything for all that commercial stuff they do. But I would have had to pay for that.
I'm writing exactly the kinds of books I like to write. And they're the kinds of books I like to read. They're popular commercial fiction. That's what they are.
I have to be careful of what TV shows I choose, particularly ones that have commercials in them, because it's going to be a different kind of television show.
I think commercials get a bad rap, that there's no creativity to them, but I haven't found that to be entirely true. The process of auditioning for them can be tedious, but actually doing them can be really fun.
Commercial real estate always trails residential, and as residential growth flourishes, shopping centers flourish and service the communities, and jobs come out.
They will open up to what I would call corporate broadcastings where the non-commercial material will have air time. There's no possibility of that here right now, none.
Innovation almost always is not successful the first time out. You try something, and it doesn't work, and it takes confidence to say we haven't failed yet... Ultimately, you become commercially successful.
I thought I'd be wasting my time to go to commercial record companies and make demos for them, because don't forget, I was doing what I was doing and nobody understood what I was doing.
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.
