I think we have to keep putting women's sports in the limelight. I thought the Women's World Cup did a wonderful job of showing the quality of women's soccer. But we also need coverage and marketing and press and getting these female athletes to become household names.
I wanted to be an industrial designer, so I went to business school for that, and I then went on to marketing at Interpublic Group of Companies, which was one of the first organizations to actually think about brand marketing. I worked on Coca Cola's account, and then I was recruited by Pepsi, and I ended up being Pepsi's first MBA. I was called the High Wire Act because I was in my 20s and I was given jobs of increasing responsibility that I was totally unqualified for.
There's a trend in Hollywood at the moment where studio executives are coming from more of a marketing background, and that is challenging. I think one of the problems of marketing executives is that they don't understand how films get made and they're a bit nervous. And that is not the most efficient way to be a studio executive.
The record business is an oxymoron. In the 1960s, there was an upside to selling plastic discs so labels took the risk - they paid for the record, for marketing, promotion, publicity, everything it took to make the artist a star. But now we have to go back to the venture capital model. The business is stopping and everyone's complaining but you can't blame labels. It's a shitty business. You do it because you're passionate, or because it's what you've always known. But if you lived through the nineties, nobody is thinking this is great compared to what it used to be.
I'm making and marketing my films, by any means necessary, and enjoying life while I do so.
When I'm marketing a film, whether its mine or someone else's, I work with a great deal of strategy and elbow grease until the job is done. It's pretty simple really. I just dive in and start digging. Yes, I'm fortunate to know the in's and out's of a true studio-level marketing campaign. But really, anyone who is diligent and well-researched can pull it off too. Its easier for me, but it doesn't make it impossible for others.
I think that most successful artists - not always, but a lot of them, in any field - have business savvy as well and have some sense of marketing acumen. I think the key is to be good enough at it that it doesn't overwhelm your aesthetic interests, but have just enough that you make smart decisions.
Business requires an unbelievable level of resilience inside you, the chokehold on the growth of your business is always the leader, it's always your psychology and your skills - 80% psychology, 20% skills. If you don't have the marketing skills, if you don't have the financial-intelligence skills, if you don't have the recruiting skills, it's really hard for you to lead somebody else if you don't have fundamentally those skills. And so my life is about teaching those skills and helping people change the psychology so that they live out of what's possible, instead of out of their fear.
I've always liked to write, but I never thought I could make a career out of it. I went to business school because in the '80, it was the thing to do. I thought that marketing was a way to be creative in business, but quickly learned all creative stuff happens at the ad agency.
The world of the consumer, the sheer innovation and dynamism of our culture has never been easy for marketing to keep up with, but now these are suddenly faster and much more powerful. We need a new idea and practice of marketing and of the brand.
We're on an indie label. We don't have mass marketing behind us, and we don't have big budgets. We do our own thing. We do exactly what we want to do. We produce our own music. We write ourselves. We record ourselves. We mix ourselves. The artwork is done by my brother. That's not selling out. We're doing exactly what we want to do.
I was making commercials. That's how I learned the craft. That was the marketing part of it: directing commercial for TV. It wasn't the most common thing to become a filmmaker in Greece. I started by saying I was interested in marketing and have a proper job in advertising and commercials. Basically, I studied film to learn how to do marketing, and commercials. As I studied film I learned I'd be interested in making films instead of commercials.
I'm on record as having said "I've done this amazing movie - The Sixth Sense - that no one is going to see." And then it stayed in the top 10 American films for about six months. So don't ask me. I'm the most disastrous PR and marketing predictor.
I'm not writing anything out of some sense of obligation, or for marketing purposes. This is just what I prefer to write. Even though I write mostly for kids, I'm not out to teach a moral lesson or present a guidebook for life. My primary goal as a writer is to create fun, entertaining books that present interesting ideas and themes, so kids can have a break from the stresses of their lives. I got a fan letter once from a girl who said one of my books made her feel good about herself, and if there's anything I'm reaching for, it's that.
We feel pretty comfortable making music but beyond that there have been other things to take into account, including promotion, marketing, airplay.
The only one that seems to be able to hold the business is Disney. They do it is because they have a fabulous philosophy about marketing- but even they wavered.
Every single thing I learned about marketing and building my business, I learned from my mom, and she had never been in the workforce. She just had great practical sense.
Music is where I have the most creative freedom, but I love producing. To me, that's kind of where all the action is. You get a chance to have your hands in every aspect of a film. From picking a director, sometimes picking a writer, to the actors, the wardrobe, set design, editing, music, and marketing.
I always point people to the article '1,000 True Fans' by Kevin Kelly. If you choose your thousand ideal customers or readers properly and find the single author blog that targets that audience, you never have to do any more marketing. You're done. That is a lesson that very few product developers and marketers have learned, and it's unfortunate.
To make a bestseller, there are more customers than just your customers: Selling to the end-user is just one piece of the puzzle. In my case, I needed to first sell myself to the publisher to get marketing support and national retail distribution.
My theory on genre is that while there are people out there who believe that genre tells people what to read, actually I believe that genre exists as a marketing tool to tell you what to avoid.
The ecological impact of book manufacture and traditional book marketing - I think that should really be considered. We have this industry in which we cut down trees to make the paper that we then use enormous amounts of electricity to turn into books that weigh a great deal and are then shipped enormous distances to point-of-sale retail.
Everyone wants to get behind the red rope, but actually: be yourself, don't believe what you see, don't believe all this marketing.
There is anxiety, but it comes after you've finished filming because it's out of your hands; people are editing it, they're cutting it, marketing it. And it's... part your career sort of rides on that. But when you're actually filming it's a team thing and it really feels good there for me.
I've been careful to keep my life separate because it's important to me to have privacy and for my life not to be a marketing device for a movie or a TV show. I'm worth more than that.
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