If I think of the audience too much, then I'm going to start catering to them...and it turns into entertainment. And I've got time for entertainment; I'm just not at all that interested in doing it myself. I'd rather go for some pretty raw expression.
Creating music to fit the marketplace, so that music can be heard? If ever I thought that I even came close to catering to the marketplace, or designing my productions and my music to cater to what is currently fashionable, I would sell shoes for a living. For me, the marketplace can rot in hell. I will do music for the love of music and for the love of people who listen to music, and absolutely nothing else will drive me.
What you have in most education software is that they're catering to the decision-maker who makes the budget allocations, and that decision-maker has a lot of check boxes. Does it do this? Check. Does it do that? Check. They could care less about the end user experience.
Hollywood doesn't trust me, and we don't really mix. When a movie has stars, everything in the budget goes up, even the catering costs. I just don't like the process of having Suits all around, so I prefer casting unknowns. It adds another level of tension - you don't quite know what to expect from them. My movies don't even need that much money.
I think people are willing to take more of a risk on an indie film, about character, etc...but at the same time, when I work on projects that are substantially bigger, in a way they do feel small. Even though the catering is way better and we actually have someone shooting with real film.... The budgets are bigger but the story still feels small, like an indie film.
I think people of all occupations, whether it's the camera - puller or the man who's doing the catering, they can identify with Rambo's frustrations, with the veteran's frustrations.
Some of the wealthy collectors have paid lots of money for artwork that I already did, but I didn't do it with the intention of catering to them. I think part of the reason my work is attractive to people like that is because it doesn't cater to them.
Catering is extremely demanding financially and physically. It's a business.
I grew up in Birmingham, but my parents are originally from Barbados. My dad, Romeo, was a long-distance lorry driver, and my mother, Mayleen, worked in catering.
I pile on the weight when I work. All that location catering's not good for the love handles. I lose a bit when I'm not working, but I love my food and the occasional snifter.
When you have all the bells and whistles - you've got the big, fancy catering, you've got the big, fancy car service and the big, fancy trailer - it makes it very comfortable and everybody's making a lot of money. But that doesn't necessarily mean you're going to end up with a great film.
When you are on the set, you have different departments - you got camera, sound, props, hair, makeup, catering, executives. Imagine each one of those are spokes on the wagon wheel. All the spokes come into a hub: the hub is the director. The wood the spokes go into are distribution and promotion; the steel wheel around the hub is the film. None of these have anything in common with each other.
What I learned about acting, from my experiences directing, is why so many producers and directors don't like actors. You go through all of this work securing a location, figuring out how to get electricity there, how to get trucks parked where they need to be, and where catering is going to come from. And if the actors don't come up with some magic, it actually didn't matter. That creates a lot of animosity towards the actors.
Some things I won't do for any amount of money. That's so demoralizing and goes against every principle that I hold. It's like, okay, some rich people can buy me because I'm a talented guy. They can buy talent. You can't buy it for yourself, but you can buy other people's talent to serve your purposes. And once an artist does that, he becomes like a plaything of the rich. You know, some of these wealthy collectors have paid lots of money for artwork that I already did, but I didn't do it with the intention of catering to them.
You look at all the sporting companies out there. I won't name names, but we know who they are. Good brands and logos and things like that, and they have to start catering to real women. Even in how their sports apparel is designed, and the commercials - you want to look at a commercial and see yourself.
I got into cooking just by watching my mom and my aunts and my great-aunts and actually one of my cousins who has her own catering business in Atlanta, Georgia. So everybody around me really cooked and it was just all these different styles and backgrounds and cuisines of cooking that I found so interesting.
I've always had mostly women come out to see me perform. That's the reason the guys show up; they know R. Kelly is going to draw the women. Most of the songs I'm singing are catering to women anyway.
Dad, once an aspiring architect, drove his own catering truck to feed factory workers in downtown Los Angeles, and mom, with a Mensa IQ and mathematical gifts, served as a bookkeeper and worked in a grocery store while pursuing her calling in music: playing piano and composing songs. Perhaps in a way, part of my drive was to complete their unfulfilled ambitions and dreams, but in my own way.
Catering on planes, like on British Rail, is a standing joke, but I don't really have a problem with it. I don't quite know what people expect.
When I was younger, all I cared about was what people thought of me and my films. Now I care less about catering, hand-serving, hand-feeding the audience. I've gotten to the point now in my life where I'm serving myself.
The best food I've had was actually in catering at 'Single Ladies.' It's insane. I can't live in Atlanta. In fact, even if I'm offered, I'm not sure I could come back for another six months, because I'll just be fat.
The interesting thing about gay people is that you can't really put on a wedding without them. They're the ones who make your dress, and do the flowers and the catering. They've toiled in the wedding industry all these years but were never allowed to do it themselves.
Safety lies in catering to the in-group. We are not all brave. All I would ask of writers who find it hard to question the universal validity of their personal opinions and affiliations is that they consider this: Every group we belong to - by gender, sex, race, religion, age - is an in-group, surrounded by an immense out-group, living next door and all over the world, who will be alive as far into the future as humanity has a future. That out-group is called other people. It is for them that we write.
The important thing is the family. If you can keep the family together - and that's the backbone of our whole business, catering to families - that's what we hope to do.
What do artists do? Artists give people something they didn't know they were missing: a dance, a piece of music, a painting, a piece of sculpture. Catering to that need is the best business strategy.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: