The use of slave women as day workers naturally broke up or made impossible the normal Negro home, and this and the slave code led to a development of which the South was really ashamed and which it often denied, and yet perfectly evident: the raising of slaves in the Border slave states for systematic sale on the commercialized cotton plantations.

What Western society teaches us is that if you get enough money, power, and beautiful people to have sex with, that's going to bring you happiness. That's what every commercial, every magazine, music, movie teaches us. That's a fallacy.

A month before graduation I got an off-Broadway job. Then I did some commercials, including one for MCI. You can only see half of me, but it paid well. Thank God for commercials.

I did a character called Captain Q for Nestle's Quik. Those commercials were kind of funny.

When I read the 'Ugly Betty' pilot, I thought, 'Oh, this part's funny.' I said to my husband, 'I'm going to get it!' But based on what? All my exquisite comedic work in a Nike commercial?

People ask 'How does doing a film compare to doing an ad?' Well, when you're doing a commercial you don't have to sell tickets. You have a captured audience. Which is actually completely rare and great; it gives you a lot of freedom. When you make a film, you have to do advertisements for the film.

The important source of finance is now commercial papers, bonds, and so on.

I gladly, I voluntarily gave up the kind of commercial film career I had going as soon as I had enough money to finance my own films.

I do support artists standing by their beliefs and walking with integrity. We have to find a better way to commercially exploit music while giving artists their proper respect. This cannot be done while taking their contributions for granted or trying to control the scope of their growth and power through threats and fear tactics.

Nobody makes bouillabaisse from scratch. It's all a bunch of malarkey. Even the restaurants buy a commercial-grade product. I had a very famous chef tell me that.

The real harm of term extension comes not from these famous works. The real harm is to the works that are not famous, not commercially exploited, and no longer available as a result.

My most famous commercial was for Fruit Of the Loom underwear. I took a lot of razzing from my classmates.

I did a Coca-Cola commercial when I was about two and a half years old, and then me and my family were extras in a bunch of Westerns. I loved dressing up and stepping into this imaginary world, and it was fun to get outside of my tiny little town with a bunch of movie weirdos.

My personal experience has been that in my 25 years of writing, I have not been asked to do more than four or five commercial one-shot scripts. These were performed on major national hook-ups but produced for me no immediate additional jobs or requests. One script for BBC was done around the world with an all-star cast.

As slavery died for the greater good of America, and the movement for equality sputtered to life, the white woman was on the cover of every American magazine. She was the dazzling jewel on every movie screen, the glory of every commercial and television show.

I have a private plane. But I fly commercial when I go to environmental conferences.

I started out doing commercials, like Diet Coke and Pizza Hut. And I started to find there was a different life for me, in a different field. From there, I got a call from a director in Italy, and we did 'Indio' I and II, and that's where it started.

Like so many people, I only remembered Orson Welles as this huge, fat, bearded figure selling wine in TV commercials. So whenever anyone said I looked like Orson Welles I said that I wasn't that fat, and I would get on a diet, quickly.

'Commercial' is not the word that has to be said only by CEOs. It has to be something that is maybe the essence of design, because design has some sort of art in it and creation, but it's also some object that you have to use. There is also this pragmatic end to it.

I've come up through art school, through painting, through graphic design, through advertising, through TV commercials and music video. I've designed books, built billboards, matchbooks, corporate identities. I continuously paint, I've done conceptual art pictures.

I was in college, and very disappointed. I majored in commercial art and interior design for three or four years. At that time, it seemed the thing I really wanted to do, production design, just wasn't available in the U.K., so I turned to music.

Of course, I did lots of what would be called graphic design now, what used to be called commercial art.

Being non-commercial is never an ambition. Movies come together at different points for fortuitous reasons. You do them as you get the opportunity, as opposed to doing them when you choose to or design to.

Over the past 20 years, I have noticed that the most flexible, dynamic, inquisitive minds among my students have been industrial design majors. Industrial designers are bracingly free of ideology and cant. The industrial designer is trained to be a clear-eyed observer of the commercial world - which, like it or not, is modern reality.