A Quote by Bob Dole

I lost in '96, in case the word hadn't trickled out, and so I made a few commercials. — © Bob Dole
I lost in '96, in case the word hadn't trickled out, and so I made a few commercials.
I made quite a lot of money in commercials and I decided when I got out of school to take singing lessons so I could get into singing commercials, too.
I had done a few commercials here and there, but I was never super lucky in commercials.
If the lost word is lost, if the spent word is spent If the unheard, unspoken Word is unspoken, unheard; Still is the spoken word, the Word unheard, The Word without a word, the Word within The world and for the world; And the light shone in the darkness and Against the Word the unstilled world still whirled About the center of the silent Word. Oh my people, what have I done unto thee. Where shall the word be found, where shall the word Resound? Not here, there is not enough silence
I made experimental commercials in the experimental division of a production house, Film X, that made commercials for ad agencies.
I know of a few multimillionaires who started trading with inherited wealth. In each case, they lost it all because they didn't feel the pain when they were losing. In those formative first few years of trading, they felt they could afford to lose. You're much better off going into the market on a shoestring, feeling that you can't afford to lose. I'd rather bet on somebody starting out with a few thousand dollars than on somebody who came in with millions.
I am really impressed by lawyers who write books and tell us that they never lost a case. Most lawyers who have never lost a case have not had enough hard cases. But there are very difficult cases out there.
I loved doing commercials when I did commercials. I made a living. I worked in front of a camera. I could do plays for free.
No one wants to risk a million dollars on a few laughs. The big, flashy commercials are out. The soft sell is out.
When you're writing it's a very solitary job. It's you and your word processor and a cup of tea. It's nice- that again, is another nice thing about being able to do commercials is, you can get out of the house and chase high speed cars around for a few days and then by the time you go back, you're kind of re-infused to write.
When you look at me in the beginning of '96 and at the end of '96, I'm two different people.
I don't want to sound conceited, but people were intrigued with me and thought I was crazy and the word got around about this wacky disc jockey who could do 10 commercials in 10 minutes - what I did was make fun of the commercials.
There's another aspect about the Seventies. Blazing Saddles, as wonderful as it was, sort of hurt the Western. It made such fun of them, that you almost couldn't take them seriously from that point on. That's why only Westerns that had the stink of Watergate or Vietnam could be taken seriously. There were so few Westerns made since then, from the Eighties on, that the few directors who did were so pleased with themselves and so happy to have the opportunity that they got lost in visuals, they got lost in the vistas and the pretty scenery.
I prank my manager. I tell him I've lost my passport, or I've lost my case, or I hide his case. He is so gullible, he is the most gullible person ever.
My grandfather lived to be 96 years old. He was born in a town outside of Salerno in Southern Italy. He came to New York when he was 20. He lived in the States from age 20 to 96, but he brought his culture with him, he brought his food with him, he brought his language with him, he never spoke a word of English.
And I've always loved commercials. I like working out how to organically weave a brand's message into the writing process. It's like an improv show, where comics ask the audience to throw out a word and a skit is built around it.
When we moved to L.A., I started going out for more commercials, and then one day they emailed me a movie script. The first thing I said was, 'No way. I love commercials.'
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