A Quote by Susanna Hoffs

Oh, well, I'd like to have commercial success. I guess. — © Susanna Hoffs
Oh, well, I'd like to have commercial success. I guess.
I don't attribute any 'luck' to 'Bol Bachchan''s success. It was an entertaining commercial film which was bound to do well, and I guess I have the knack of picking up such universally appealing, fun masala movies which turn to be successful.
I got hit up for a tampon commercial and so I asked [JD and Jo] if they had anything. Jo sent that over and I was like, "I love this track. Oh my god. It's so upbeat. It's so positive. It would be so great for a tampon commercial." That commercial never came through, so then I just had it. I was like, "That would be great for a Hillary [Clinton] song." I think it's so funny that it could be a tampon commercial.
People always known me for rappin'. So I guess that maybe just hindered me, like "oh well, I mid-as-well go long term with it."
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.'
I guess the cool thing about the '80s is the kind of like adventure in terms of, you know, people were very willing to use sounds that were completely ridiculous or whatever. There was a lot of stuff happening in the '80s and it's all over the place. I guess that's probably the coolest thing for me and that's what I like about it. Just kind of that like, 'Oh, what's this sound? Oh that's wacky. Let's use it anyways.'
What has helped me is my success in commercial cinema. It has given me a platform for others to cast me in their films. If I did not have the commercial success, then I wouldn't be able to do the smaller films.
By some curious mischance, a couple of my plays managed to hit an area where commercial success was feasible. But it's wrong to think I'm a commercial playwright who has somehow ceased his proper function. I have always been the same thing - which is not a commercial playwright. I'm not after the brass ring.
There's Sia and 5 Seconds of Summer but that's sort of it, nobody from Australia really has success in America, and to have a song go so well on radio, you start to have success and you think, 'Oh God, I don't want to lose that!'
You come off the kind of commercial success that 'Rumours' had, and you see that there are limitations to that as well as freedoms.
Off the court, I'm a totally different person. I've heard people be like, 'Oh, so sweet, like a big ole teddy bear.' But I guess I still have that look on my face in a game. I guess I still have a vibe where it's intimidating.
I think, a lot of times, bands will break up because their goal is commercial success, and most bands aren't going to get that: it's out of their control. If you do, you're one of the lucky ones, but that commercial success will likely fade, and you'll end up breaking up anyway.
Everybody who loves me calls me Sissy, so I guess that's just who I am. When I'm 80, they'll still be calling me Sissy. Oh, well, I guess there are worse things.
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.
I've always been a late bloomer, so I never feel like, 'Oh, I'm gettin' older; I guess everything is gonna stop.' I'm the opposite: 'Oh, I'm just getting started.'
The audience got jaded, they want a hit, they want a big success, and so you don't want to experiment because you say, well, I'll disappoint the audience, they may not like it, I better do something that I think is more commercial.
Wait, what are you doing?” She could apparently hear the strain in my voice as I craned my neck from side to side. “I’m trying to see past a little girl on my hood." “Oh. Isn’t that dangerous?” “Normally. But she has a knife.” “Oh, well, then, I guess it’s okay.
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