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I think whenever you have a product you are always trying to improve it. Whether it is a commercial project out on the market or it's a creative collaboration, you are always looking to keep you audiences more engaged.
I was 3 and a half, and there was an open call for a Coca-Cola commercial. We were living around Dallas, and my mom took me. I think they were calling for 16-year-olds that could ride horses and swing a rope, and for whatever reason, my mom took me up there when I was 3. But I always had a rope, and I was a little cowboy at that age.
It perhaps has a chance, a commercial chance, this film. It's funny, it's charming, the idea is original, it's unusual and it makes fun of the movie industry in a way that it needs to be poked fun at.
Some of you may remember me as the 'Doritos Girl' from that Super Bowl commercial a while back, but I've been lucky enough to have gotten a few more credits under my belt since then!
You see I don't like to be really too commercial about things but in this business you've just got to be commercial otherwise the films don't make money and you don't make films and as a long as a commodity is selling it's silly to kill it dead.
When I was at drama school in the U.K., I was there for two and a half years, and we did one week of television and film. It's right before you leave. It's like, 'We've taught you Chekhov and Shakespeare; you are likely to be in a washing-up soap-liquid commercial.'
In rap music, even though the element of poetry is very strong, so is the element of the drum, the implication of the dance. Without the beat, its commercial value would certainly be more tenuous.
Surf culture and surfing for me are two completely different things. Surf culture has become very - it's a very commercial, competitive thing, fashionable. With all due respect to the 'Surfer Dude' movie, I think the 'Surfer Dude' movie reflects that, reflects what surfing's become, but I come from a place where the surf industry began.
I'm confident UTC could outperform in all of our markets, starting with our commercial businesses. The largest opportunities for our commercial businesses are in emerging markets, and we're very well positioned there.
Louis R. Chenevert
Denmark is a small nation of five million people, but our economy is completely dependent on our commercial fleet. Every family has some connection to it.
I did a lot of commercial and theater work when I got out of school and was living in Dallas, and I moved to Chicago to go through the Second City Conservatory Program.
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.
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.
My first modeling job was Gap, and my first time in front of the camera was for a Soda Pop Girls commercial - it's one of those Bratz dolls, Barbie dolls... one of those.
My first commercial was an Old Navy commercial where I stood in line in front of a club, and Fran Drescher was in it.
People get passionate about a song. It's been my experience if you put out radio candy, something commercial, it doesn't sell records.
Besides commercial benefits to the oil companies, equity oil abroad also provides national energy security.
The very first job I did, a Barbie commercial when I was eight or nine, that was like 'Oh my God.' Because when you're watching things on TV, you think it's like a fantasy. But then to actually do it and then see yourself, it's like 'Oh my God.'
Seriously, we are in the midst of the convergence of voice and data and that is challenging the infrastructure of the telephone companies. There are huge commercial interests in the basic technology, but even more so in content delivery and control of content.
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.
Well, it gives me the opportunity to make the movies that I want to do, because L'Oreal pays me very well. Also it means that I can work with great directors. My last commercial was directed by Erick Zonca, who made 'Dream Life of Angels.' And finally, it doesn't take up a lot of my time.
People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
'Government gets things right' does not encourage sales. 'Government makes another blunder' does encourage sales, so there's a commercial imperative that pushes sensationalism.
The commercial broadcasters have tremendous influence in Washington, D.C., for a couple of reasons. First, they're extremely rich and they have lots of money and they have had for a long time, so they can give money to politicians, which gets their attention.
It has nothing to do with commercial success. You cannot calculate in your head how to put the mosaic together to make a commercial film: that's out of the question.
John F. Kennedy
A. P. J. Abdul Kalam
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