As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.
Tampon commercial, detergent commercial, maxi pad commercial, windex commercial - you'd think all women do is clean and bleed.
I have done a Hamburger Helper commercial, a Hardees commercial, a McDonalds commercial. American Express commercial.
I never intended to become a commercial filmmaker in the first place. What I do requires time and experimentation. Commercial work is often not the best way to get the most innovative work, because it's about money and marketing. Although advertising is now embracing non-commercial people.
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 enjoy music that is commercial. I think that in order for music to be heard in a lot of different situations, you have to always consider that. Commercial music, for the most part, is popular music, and you always have to keep that in mind. It's not so much financial as making sure it gets the shot and is heard on the radio.
I didn't get played on radio or TV for 3 years. They all told me the same thing: it was too urban. They don't see grime music as commercial music, but all music is commercial; it's how you make it. That's what I'm trying to say.
My first commercial ever was a Dr. Pepper commercial. And then I did a Mountain Dew commercial. A lot of soft drinks.
I'm a commercial director; I do some very very commercial stuff in the commercial world. My music videos are always analyzed. I need to think about what the audience is going to think.
One of the first jobs I did was a commercial, a local commercial on the Chinese channel here in Los Angeles, and the whole thing was in Cantonese, I think, and I didn't have any lines, but I was kind of the focus of the commercial.
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.
I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.
I grew up on the commercial film format. I have grown up all my life watching films and they have all been mainstream commercial cinema.
As a matter of fact 25% of our U.S. investment banking business comes out of our commercial bank. So it's a competitive advantage for both the investment bank - which gets a huge volume of business - and the commercial bank because the commercial bank can walk into a company and say, "Oh, if you need X, Y and Z in Japan or China, we can do that for you."
The initial response to 'Yennai Arindhaal' was that it didn't have all the quintessential commercial elements, though I consider it as my most commercial venture.
With 'Acoustic Soul,' I saw my music as sparse. But I didn't do that because I was making a commitment to be commercial. That's what made 'Acoustic Soul' so difficult to produce. It took 2 1/2 years because I couldn't figure out what I wanted and still be commercial.
When I started to write music that was completely divorced from any sort of idea of commercial success, the real me started to come out. Normally, a musician in a session for a pop record would have to discard a lot of ideas because they won't fit, because they're not commercial.