Eric Fellner Quotes

My entire approach is built on the idea that things can be commercial and artistic.

And it's possible to monetize your art without compromising the integrity of it for commerce.

If design isn't profitable, then it's art.

There's a huge cloud of shame around art and business being seen as bedfellows.

In the whole course of our work at the theatre we have been, I may say, drenched with advice by friendly people who for years gave us the reasons why we did not succeed... All their advice, or at least some of it, might have been good if we had wanted to make money, to make a common place of amusement.

Get that right, then- if you get the quality right, then the marketability or whatever; your ability to sell videos or your ability to earn money or whatever, will follow naturally. But try to be creatively lead rather than market lead. And that's important to me.

You see I don't like to be really too commercial about things but in this business you've just got to be commercial otherwise the films don't make money and you don't make films and as a long as a commodity is selling it's silly to kill it dead.

It's not in the interest of the artist to think of his market.

You have got to have an agent. It's a business. But I think there is a way to be artful and commercial at the same time.

Capitalists work hard to produce what consumers want. Artists who work too hard to produce what consumers want are often accused of selling out. Thus, even the languages of capitalism and art conflict: a firm that has 'sold out' has succeeded, but an artist that has 'sold out' has failed.

The studios don't seem to foster good writing. They're not so interested in that, but they're more interested in what worked most recently. They're definitely very serious about making money, and that's not a wrong thing, but you don't have to make money the same way all the time.

Times change; Hollywood is not the same as it was when I first entered the business. It felt to me like it was starting to narrow down and centralize itself around what would... make money.

I have respect for those who make money at art and do it well and smartly, because that commercial aspect keeps the world going and running, in a sense.

At first, I didn't want to do unicorns. The artist in me said no. Then I thought, 'Wait a minute: this is commercial art. Let's do what's going to sell.'

I tell people all of the time that they would make any show in this business - whether it's black, white, Hispanic, Jewish, Colombian, Dominican - whatever. They'll make it if it sells. It's a business. It's not personal.

The trouble with movies as a business is that it's an art, and the trouble with movies as art is that it's a business.

And you know, art as commerce, doesn't really make too much sense, they don't go together.

It costs a great deal of money to do a musical, and the more money involved, the more big business influences the artform.

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.

Publishing magazines for yourself is not good business, man.

I'm sort of murdered for selling books. The idea is, if you make money your work can't be literary.

People in fashion treat it as a business... I guess Hollywood is a business, too, but you talk about story: you talk about a more artistic world than in fashion.

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.

When the business starts shaping the art, or the delivery of the art, then it's not right.

The players in the promotion business today are, by and large, not in it for the art anymore. It's all about how many bucks can you make on a concert.