Top 123 Crossover Quotes & Sayings - Page 2

Throughout my years in From First to Last, I was always dabbling and making electronic music on my own time. The first records I ever owned were crossover electronic rock, like Prodigy, Marilyn Manson and Nine Inch Nails.

I remember that in '81, country radio was pretty pop, and everybody wanted a crossover record - and all of a sudden it came back to traditional. Now it's kind of swung the other way a little bit, but it always comes back.

I wouldn't call myself at all as a crossover artist - I kind of hate that word - but in a way, you need to see me like that, because I'm working in classical music, I'm doing these other projects, and I'm having a rock career at the same time.

As far as doing TV, I do think there's a big audience out there that could enjoy classical music, but they don't know how to find it, and sometimes by doing different things... crossover things probably make up about 5% of what I do.

I really hope that with my album, because I have a bit more of a mainstream crossover following, I really hope that I can introduce some new listeners to this world of instrumental music.

I think most good music has got some kind of crossover-potential. It feels nice to know that there are more people than those into dance-music that are listening to what I've made.

There is actually quite a lot of crossover between the quacks and drug companies. They use the same tricks and tactics to bamboozle people into buying their pills, but drug firms can afford to use slightly more sophisticated versions.

My poems and prose are not often in direct conversation with each other, but there's so much crossover - everything that comes out of that crucible of language - that working in poetry and prose is energizing - to me as a writer and to the work itself.

I never tried to crossover or be in the public's eye everyday. I'm laid back with it and at times I wondered if I was doing the right thing promoting myself staying back a little bit and coming out when I felt that I had too. But when I get all the accolades and hear the things people say it just puts it all together for me man. It's a blessing.

There are so many stage actors on TV but you wouldn't know they were stage actors. And film and TV actors are going to the stage as well, so the crossover is great now.

I was glad to see other blues guitarists like Albert King have crossover successes like me. We played in the same places like the Whisky and the Filmore. When Albert made his guitar cry, he could cut you so deep!

If you look at the Rock's crossover, Stone Cold, my dad too, in his era, I want to do that. I want to mean that much to the industry. That's just a matter of working harder every single day.

What I would love is a crossover between 'Royal Pains' and 'Burn Notice,' that we could be involved in some sort of gun play intrigue. I would really love that because we have no guns. We have nowhere near enough explosions and guns on the set.

Being able to get a big body to change direction, I think that's huge. I don't think a lot of tight ends incorporate that enough. I got a lot of that from playing hockey when I was younger, being able to play on the inside and outside of skates, as well as on the basketball court, being able to put my foot into the ground and crossover.

My ideal situation is to be able to call the shots and be able to work with whomever I want to work with, and really make something amazing. I'd like to crossover more to have mainstream appeal, but I recognize that the music I make isn't your typical top-40 pop record. Striking that balance is my long-term goal.

If you go to a lower crossover point, a negative place of power, then the beings there are very unevolved, very demonic, crazy, lower than the people of this world.

I don't think I'll ever want to do pop music. I think I'll only ever want to do classical crossover because it's something that I love, and pop just doesn't work for me.

I pick my actors primarily based on my gut-feel. They could be rank newcomers or established stars, but if I feel they'll do justice to my characters, they are on. I think Bollywood is now looking towards Kollywood for new faces, and, to my mind, Suriya will be a very successful crossover star because he's very versatile.

Kind of the sad thing is that - it's still true - a lot of jazz people just listen to jazz, and a lot of hip-hop people just listen to hip-hop, and there's not a lot of crossover, unfortunately.

I'm not gonna force something or fake something to try to get more black people at my shows. I'm not gonna do some big hip-hop crossover.

I think it's surprising for a lot of people to see Jack Swagger crossover to MMA because they know Jack Swagger more than they know Jake Hager.

I fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.

I run my routes like a crossover dribble. It's about taking angles, faking one way but going the other, and being savvy. And then, instead of running to the basket, I'm running away from the defender.

Nobody criticizes The Rock. Nobody criticizes Randy Couture when he goes over and did 'Expendables 3' or anybody who's a crossover.

Pantelion and Televisa can reach my core fan base better than anyone, and with the distribution expertise and brand recognition of Lionsgate, I know we can build on the crossover audience that we began to reach with 'Instructions.'

There's a lot of crossover between comic fans, wrestling fans and pop culture fans.

Do you think that people ever really do believe they will die, that the world will just go along as always without them? I wonder if we aren't all a little surprised at the moment of crossover, if we don't look back over our shoulders saying, Now hold on.

I'm such a fan of Lily's [Tomlin], for so many years. I feel like Lily was the first popular mainstream crossover comedian who also was kind of an overtly feminist comedian.

The earth is alive. There are places on the earth that are very powerful. Meaning that on another dimensional level, there is an interfacing dimension where there is a crossover point between dimensions and a tremendous amount of energy is passing back and forth.

I think the record-buying public know what they like, and when people are trying to pander to them, I think they know it. They want the genuine article, so if we try to sort of "dumb down" for the mass public, I think they're too smart for that, and would recognize us as fakes. It seems like the bands that do crossover do so really on their own terms, and they just find that their terms just kind of make a big dove-tail with the masses.

They believed you can't mix rock, country, and rap, and that crossover is dead. I always knew it would work. And it will always work as long as you're really into it and like what you're doing.

I don't expect a lot of people who love drag to also be like, 'I love 'Drag Race,' and then I got to hear my Chris Stapleton album.' Not necessarily an obvious crossover.

People lose it when I say this, but I'm a novelist who doesn't read novels. There are lots of good reasons for not reading novels! I'm also a game writer who doesn't play games - I keep everything very separate. The only crossover with me is comics. I write them, and I read them passionately.

What I try to communicate is that there's a lot of crossover between that feeling of romantic heartbreak and this devastating feeling of knowing that we've punched a hole in the planet and it's spilling out oil and destroying the Gulf of Mexico and the ecosystem and seabirds and every creature.

I grew up with the British-Chicago crossover of house music with a lot of pianos and very heavy bass lines, but what I love about house is you can mix it up a bit.

The wrestling, even though I would only wrestle for 15 or 20 or 30 minutes at a time, and it would look like that was the only time I was in it, was really a 24-hour job. Keeping yourself alive, reinventing yourself, staying physically in shape, the traveling, all the other commitments with being a wrestler, it was a crossover situation where it became sports entertainment and you actually became a media star, so it was very demanding.

I've always said that I count myself as a classical crossover artist. To be so, you have to have the core classical training, which I did for many, many years, but also be interested in the pop side of things. You can fit in somewhere in the middle. I feel I do that really well.

Every time I got 'Amazing Spider-Man' or 'Fantastic Four' or another book firmly on the rails, we got pulled into some big event book or crossover and it cost momentum and messed badly with the pacing and structure of the book.

There is a line in which populism can cross over into demagoguery. Demagoguery is the crossover where populism becomes a bad thing, and people make things up, and they assign responsibilities that aren't fair and justified, and scapegoat communities. And then it becomes a very bad thing.

I've been doing this since 2011, when I started on Instagram. Building my presence on there was important to my brand, but I wanted to take my audience to other platforms, so I then crossed over to Twitter second, then YouTube third. It wasn't until I made my fourth crossover to a different platform that I went to Vine.

First, there are some of my readers who only read Hap and Leonard, not the other stuff, and some who don't read Hap and Leonard, but a large percentage are crossover readers. And yes, I did refuse to go to Vietnam and it looked like prison was in my future, but they sent me to the psychiatrist and he gave me a 1-Y, which is unfit for military service essentially.

I think that there's a strong crossover in that Janis, studying the visual arts, was learning how to break it down into details and see how to get the expression that we wanted. And her visual art is emotionally expressive as her singing was. And, I think, when she switched over to singing, she already knew that it was something serious that you broke into pieces so she developed the ability to break it down and learn little riffs that she could throw in here and there.

Where's our Paul Newmans? Where's our Robert Redfords? We've got Jason Statham, who is great... blue collar and cool, which is fantastic. And we've got Hugh Grant, which is great. But where's this crossover, this blue collar guy who is cool? Where is our James Dean? Where is our John Travolta and Steve McQueen?

I urge younger artists to know that you don't have to be anything you don't want. You can do whatever's comfortable for you. From the music I make, to the things I do in my life, I'm true to my R&B core. I have the capability to make pop records and crossover, but that's not my aim.

I genuinely enjoy the puzzle put before me with a crossover - how do I use this bigger piece of the Marvel Universe to tell a character-based tale I wouldn't normally think to tell?

On Broadway and in the United States it's very different - people crossover all the time into television. I think that we'll get there [in London] in the end, but it has to start with who comes to see you in the musical and whether they can see beyond the dancing and the singing.

I'm all about the crossover. The role doesn't necessarily have to be white or Latina or black. It could be anything. But it's hard in Hollywood, because sometimes it's all about the box office. Or all about looks and things like that. It's not about the story that they have to tell.

It used to be that you kind of got pigeonholed into one thing - you're either a stage actor or a TV actor or a movie actor. Today, there's a lot of crossover with film actors doing television, which never happened before, so those lines are a little bit more blurred than they used to be.

I thought I would make so much money and be the next Ray Leonard. Maybe it was farfetched, but I thought I could be a megastar. I could fight, and I had a lot of crossover appeal that was necessary to promote myself. I thought I'd make a ton of money and live off of it the rest of my life.

I have been involved in lots of crossover and event books, and the truth is, I dearly love them. I love stories that actually take advantage of the huge DC library and catalog - that stuff thrills me.

Oh, stuff the critics. I don't care. Too many people are snooty about classical. Look, I wasn't brought up in a home where we listened to classical music. It was a singing teacher that thought it would be best for my voice. Then I moved into crossover. And if that makes the music accessible to more people, then great.

On 'Frasier,' a network executive once suggested that one week we have John Lithgow play Frasier and Kelsey Grammar play Lithgow's role on '3rd Rock From the Sun;' I've been deeply afraid of the idea of a crossover ever since.

In a way, to have whatever people talk about as "crossover success," I think it means you start making bad music. I mean, when I'm flipping through the channels and see the VMAs or something, I don't really see any music there.

There's good reason to be excited. You have the first woman running who is qualified, and a very attractive African-American who has demonstrated crossover appeal. I got involved in politics 40 years ago during the civil rights movement, so yes, it's an exciting thing.

I think that some people still think that the formula other than gospel still is not strong enough to get that crossover appeal to people enough that they would play it all the time, or nonchurch people would accept it, but I disagree.

When you make that crossover from life to real life, when you're not treated as a child anymore but as a man, and you are no longer given the benefit of the doubt, it takes some courage to face that.

Anyone who thinks designers don't talk to editors, and editors don't talk to stores doesn't know what's happening...It's called crossover, sampling all references in music, art and fashion.

Independent films will probably kill themselves off by virtue of their own success. With a crossover hit like PULP FICTION, the criteria by which art-house movies are produced and marketed and exploited have changed. With studio money and overheads and budgets and deal-making machinery, a certain kind of narrative structure and popcorn-type payoff start infusing themselves.

In country and R&B, there's much more of that division between writers and performers, and that's where you see more of those [crossover] songs, but you don't get a lot of that coming out of the more pop and rock side of things.

When I lived in Nashville, Tanya Tucker and people like that were coming up, and I'm sure that Loretta Lynn and Tammy Wynette were going, 'What's that noise? That's not country.' It's always been this battle where whoever comes up behind the reigning stars isn't country enough. There really is a lot more crossover now.