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.
You have always had individual directors who begin in the advertising or commercial world, but they are probably exceptions rather than the traditional pattern.
Xerox did OK in moving to digital in the commercial space. They didn't do well in the consumer market, but they're not a consumer brand. They don't even know how to spell consumer.
I hear a lot of bad TV commercials that try to sound like Where It's At. That pretty much turned me off from using the electric piano for a lot of years.
I haven't been very enthusiastic about the commercialization of children's literature. Kids should borrow books from the library and not necessarily be buying them.
You know, you can be really quite subversive in popular fiction, which is capable of taking on big issues of politics, war, the rise and fall of commercial dynasties.
I presume that nobody will deny the positive aspects of the North American cultural world. These are well known to all. But these aspects do not make one forget the disastrous effects of the industrial and commercial process of 'cultural lamination' ...
There is no evidence that more regulation makes things better. The most highly regulated industry in America is commercial banking, and that didn't save those institutions from making terrible decisions.
Prior to 'The Karate Kid', I did commercials - Kool-Aid, Pepsi, milk - and I had always been cast as the all-American nice guy.
Even if major funding is obtained for cold fusion, conceivably the phenomenon could suffer from problems as intractable as those of hot fusion. It may never work reliably or generate enough energy to be commercially viable.
I had done some commercial work in junior high and stuff - my mother would bring me into the city, and we'd go on these crazy castings. Acting was something I always dreamed of doing... it was my passion when I was young.
IMDb only lists specific projects. It doesn't list theater, commercial, and most non-union work. You also have to pay to upload your reel to most sites, and some places still make you walk your DVD into their physical location.
What's so kind of beautiful about the whole thing was that everything that made me not right for all of those hundreds of commercial auditions that I went on and no one ever wanted me for is what made me perfectly right for 'Real Women Have Curves'.
