Top 1200 Tv Commercial Quotes & Sayings - Page 20

I think you will see a point where the traditional model of advertising on TV or advertising online will go, and advertisers will cover one programme, no matter what platform it's being broadcast on. You'll see the same ads whether you are watching it on your TV, your computer or your phone.

In terms of writing and developing, TV is very open because TV needs stories. They need new pitches, and they need new ideas. They don't always take the risk for new ideas, but they are certainly open to it. They can't have enough people come in and pitch to them. It doesn't matter how they look or what gender they are.

There is no denying the fact that China has been able to convert its economic might into commercial and technological capability.

Sour Patch, Swedish Fish. I love candy, man. I can't go without candy. And when I'm recording, I always have a TV on with cartoons - on mute, though. When I'm recording, I like to look at the TV now and then and see some crazy, wacky stuff. When you're thinking creative, it just keeps you creative. Everybody got their way of making music.

We continue to not only operate the International Space Station but to increase its capabilities as well as commercial contributions.

Having done both commercial and hard-hitting cinema, I can say none of them are easy.

In 1980s, I discovered 'Late Night with David Letterman.' It was on one of the 13 cable TV channels. They didn't have 25 late night talk show hosts trying to be the most outrageous. There was the likeable television genius Johnny Carson and his mad-genius counterpart Dave. There was nothing else crazy on TV every night, and there was no Internet.

I wasn't really writing with anything commercial in mind I just wanted to create some new music.

Chicago is the product of modern capitalism, and, like other great commercial centers, is unfit for human habitation.

In tech entrepreneurship, even a lot of hack events tend to be overly commercial in that they're designed to produce companies.

Try and inject into every commercial you make a touch of singularity; a bird that will hook on to the consumers mind

It's amazing how many countries run their embassies as commercial outposts to promote businessmen from their country.

If they [animals] were really to get the equal consideration that I believe they should, we wouldn't have commercial animal production in this country.

I am essentially a hack, a commercial person. If I had a hobby, I would immediately make money on it or abandon it.

All day long you see those commercials: 'Here's Your Brain, Just Say No'...and the next commercial is: 'This Bud's For You.'

Back in my day, I would probe by hand. Now you can get commercial software that does the job for you.

I am interested in classic building development, such as hotels and residential homes, rather than commercial properties.

Very few editors worry about heresy - their goals are much too commercial, thank goodness.

Life is like a movie-since there aren't any commercial breaks, you have to get up and go to the bathroom in the middle of it.

Commercial real estate is really a black box: its super opaque, and it's hard to get the information.

I encourage all novelists to move to TV right now, that is the way to go. I was living in New York working at a bank as a day job about seven years ago. I was writing novels at night and decided, "Wow, there's so much great TV, and they're telling the complex, interesting, psychologically nuanced stories that, as a novelist, you dream of telling. And it's a healthy, exciting, thriving medium - that's where I need to be."

The story of 'Lalpan Bibi' impressed me and my character also. It has all the ingredients of a great commercial masala movie.

Who are you writing this for? For a commercial reason, or because you want to make great art and give it to your fans?

I'm indeed excited to be termed as a hero who can command commercial respect in two languages at the same time.

Every nation has to follow a certain policy: Commercial, trade, various other types of policies.

Realistic non-commercial films offer you a lot more liberty as a director than a usual film.

I really made the cartoon Life with Louie with one reason in mind: I didn't have a very good relationship with my dad, and we didn't all watch TV together like we should've, like you hope for, like you've seen on TV, and I wanted to make it for moms and dads and their kids. That was always my goal. And then I wanted to put real things in it. We did a thing about the homeless and won a Humanitas award for that.

I did try my luck in a handful of commercial entertainers, which came and went so discreetly that they didn't affect my career.

Working on my Pongal release, 'Siruthai,' was a superb experience. I really enjoyed it, as it was a pucca commercial film.

In commercial cinema, roles for heroines are limited to being simple or glamorous. I don't want to fall into an image trap.

When I did have a little bit of commercial success, it really didn't suit my temperament at all. I'm a terrible public person.

Reality TV now doesn't feel reality TV when it started. The line between reality and fiction is blurred. So many of these people are phony or shallow, in their own right. If you've ever watched any of The Real Housewives, or those types of shows, they're all performing. Even though they're real people, they're performing.

Buddha' is my third film but I chose to release 'Hate Story' first because I wanted commercial success.

TV has taken reflection out of the human condition. People didn't use to have a ready answer for everything, whether they knew something about it or not. People think they have to have an answer for everything because the guys on TV have an answer for everything. But it's bullsh**t! Reflection is crucial.

Because of television, sports columnists have become personalities. I went to a party [during Super Bowl week] and there must have been 500 people who wanted to talk to me because they saw me on TV. I've become sort of the Soupy Sales character on TV, and people do not really know me as a writer.

All I am looking for is a fine combination of critical and commercial acclaim. Whether conventional or unconventional - does not matter.

Looking back on the event, I find myself thinking there are three approaches to journalism represented here. One is the "cool" approach of traditional journalism, including network broadcasting in which NPR is no exception. One is the "hot" approach of talk radio, which has since expanded to TV sports networks and now Fox TV. The third is the engaged approach of weblogging.

I wasn't interested in fame, and I'm still not. So I never felt I had to match that first record in terms of commercial success.

We all know the Internet didn't explode until it became a commercial enterprise. Space communication will probably have the same characteristic.

All I do all day is think of ideas and implement them. That's an industry, you know. I'm trying to make art on a commercial scale.

Good manners are the settled medium of social, as specie is of commercial, life; returns are equally expected for both.

I'm thankful that we live in a crassly commercial, polarized culture, so media jackals like me have a lot of work to do.

I don't blame any director for wanting to do something more commercial. That's all part of the business. I certainly have done it, as an actor.

But I'm aware of the fact that I'm working in a commercial venue where I'm producing something that I wouldn't normally be approaching the way I'm doing it.

Valentine's Day purely commercial, cynical enterprise, anyway. Matter of supreme indifference to me.

Commercial organisations that operate responsibly have benefitted by increased revenues of 682% compared to 166% for those that don't

You see now more girls getting involved in their sports because they can see it on TV and see these people playing, and I think - the more and more it's exposed and is out there - it will continue to grow and grow. They watch it on TV and think, 'Well, that could be me!'

I have an issue with the commercial aspect of moviemaking: I don't see why a movie can't make a lot of money and also be good.

The way woman is defined by marketable modeling and commercial standards... It makes me feel alien to myself.

I think there's so many amazing LGBTQ artists, ranging from commercial to underground, that are influencing people at large.

As to Bell's talking telegraph, it only creates interest in scientific circles... its commercial values will be limited.

I am glad that 'Lust Stories' is coming on Netflix as opposed to the kind of commercial release it was going to get.

Since the 1980s, I've been known more for my TV work, I used to host 'Live at Jongleurs' and of course 'Grumpy Old Men,' and so it's really all come from there. It's been a funny career really, there are people that know me now as a TV person, a comedian, an interviewer - I've had people genuinely gobsmacked to find out I am a musician.

I hope people realize that drag queens and queer people, we're not just archetypes and stereotypes. We're human beings with a lot to share. And a drag queen doesn't have to just be a clown, she can also be like a cooking TV personality or like a DJ, or a talk-show host. We should be able to infiltrate TV everywhere.

Today films are made to cater to commercial markets created by multiplexes, not for those who enjoy good cinema.

I'm responsible. I even did a commercial for MTV saying how I was going to register to vote. And I still haven't.

I don't really produce so-called commercial pop music so I haven't changed so much. I've been on the one path always.

Bottom line is, off-beat film or commercial films, Tollywood or Bollywood, it's the role that matters to me.

I don't want to do something just to be on TV. If I did I might as well just go on and put a meat pie on my head! If I go on TV I want to be doing something I want to do.

The wireless music box has no imaginable commercial value. Who would pay for a message sent to nobody in particular?