The Business' has been an editorial success, with a core audience that loves it. But commercially it has never been a success as a newspaper. It just gets crowded out on a Sunday.
I've gone from the edgy girl to the girl you call for H&M and L'Oreal, which is something neither I nor the myriad agencies that rejected me when I tried to get signed could have predicted.
While theoretically and technically television may be feasible, commercially and financially I consider it an impossibility.
On 'Friday,' I had a big trailer, and we would have a barbecue going and music playing. It was a fun set. There was too much involved for 'The Hangover' to be a fun set. They're trying to get money.
Forget about musical credibility. I think, unless you're Radiohead or whatever, it's pointless striving for that. What I would like is some respect.
I have cut four albums so far, and all of them have been trendsetters and commercially successful. I believe that once you start taking art in commercial terms, it ceases to be art.
The best art is either political or revolutionary....Those things that are powerfully revolutionary are not always successful in the market place.
When you finish a film, before the first paying audience sees it, you don't have any idea. You don't know if you made a success or a flop, when it comes to the box office.
No matter how lofty a film is, it becomes a product after entering the market. It has a price. I think no matter what your purpose of shooting it, it has to have artistic value and then sell. But you can't make money if it doesn't have artistic value.
The desire to hit a big home run is dominating the music business.
'Cabaret' was the most commercial success that I've been involved in.
If my peers had a significant impact on my music, my music would probably be a lot more popular.
I've sold a lot of records. I've sold, like, 150 million records, and I don't think I've had that many good reviews. It's one of those things that when you're really successful, critics hate you just because you're successful.
You don't say no to a Shankar film.
It has been just so in all my inventions. The first step is an intuition-and comes with a burst, then difficulties arise. This thing that gives out and then that-"Bugs"as such little faults and difficulties are called show themselves and months of anxious watching, study and labor are requisite before commercial success-or failure-is certainly reached.
I'm an entrepreneur, a businessman. I've got a lot of money, and that doesn't go very well with the whole 'starving artist in a garret' routine.
What's weird is the Hot Boys and the whole New Orleans Cash Money thing had a really big impact on the Bay when that was popping off. I don't all the way understand it. I mean, I know that they were big everywhere and had a lot of commercial success in the mid to late '90s, but they were really, really felt in the Bay Area.
There is a long and interesting tradition of really marginal left-field music that becomes commercially successful. And I will, for a brief minute, fit into that tradition.
There is nothing wrong with commercial cinema if it is made well. In fact, if you ask me, the Hindi film industry has also produced some truly outstanding works over the years.
I had a style before I was signed, but now I'm developing my commercial sound as well as trying to strike a balance between authentic music and music that the masses will love.
After I made 'Oh Carolina' in the 1990s, the record company wanted me to copy that sound, and I refused.
I've just been fortunate to havehad a lot of hit records, though Human Wheels doesn't qualify as a hit record-but it's really the best single I've ever had.
I've had movies bomb with terrible reviews, I've had movies make a lot of money with terrible reviews, I've had movies get good reviews and make money. And I like it best when the movies do well and the reviewers like them.
I don't think about how much business my films will make.
I want to make sensible commercial films.
