Michael B. Jordan Quotes

I've done a pretty good job of hitting 18-34-year-old males, and not such a good job of reaching kids. Disney has done a great job of reaching kids, but maybe not the 18-34-year-olds. I figure I can learn a lot from Disney, and maybe, I don't know, they can learn a lot from me.

You have to prove that the Freberg way will sell their product better than if they just did straight advertising. Whenever I give a lecture or seminar, that's what I try to get across to people. I hear very few radio commercials that sound like I could have written them or that they got the idea.

Creative without strategy is called 'art.' Creative with strategy is called 'advertising.'

I always thought marketing in general was an interesting kind of thing. I always liked commercials and billboards.

Advertising is the 'wonder' in Wonder Bread.

I built a very methodical television show around my business. I learned how to use television as a platform to advertise products. I created a platform showcasing the stuff that I build. It's taking the integration model to another level.

I think that I'm a pretty great producer, but the vision behind Batman is Chris Nolan. I'm there to do my best to help execute that vision, and I think I do a really good job, but the vision is Chris Nolan.

Now we understand that the most important thing we do is market the product. We've come around to saying that Nike is a marketing-oriented company, and the product is our most important marketing tool.

I think they called me the closest thing to a God of the Internet. But at the end, that article wasn't very complimentary, because the author suggested that I wasn't doing a very good job, and that I ought to be replaced by a "professional." Of course, there isn't any "God of the Internet." The Internet works because a lot of people cooperate to do things together.

I think any time you can go after an audience that isn't built in, that's the job.

If you have a vision or if you believe the director has a vision, then at least you've got something to talk about, something to try and head to and I think that's mandatory for every director to have to do a good job.

I think it's really important as a creative director, to always keep your ears on the ground and always surround yourself with people who've been in the business longer than you to really think of new and creative ways to present your designs to girls.

Our first idea is a grand opening, a big launch, a press release, or major media coverage. We default to thinking we need an advertising budget. Our delusion is that we should be Transformers and not The Blair Witch Project.

Our success is a direct result of knowing how to market a brand and having the right people representing the brand.

So for [Alexander Wang] to actually put me in a campaign, I was really honored. I'm excited to see how it comes out because I didn't look at the photos on set; I like to just live in the moment and do what I do and let him and his people put their touch on it.

I don't think people are really breaking ground and getting new fans or anything. So, I just use it more in my personal life but obviously I'm in a business where people think that Twitter matters so I'll be like, "Yes, I will tweet out this show." But it is something that me, the human, uses.

I think because I do model for brands but it's never without input, ever. With AG I front their campaign, and obviously designed the collection for them. I did the same back in the day with Madewell. Even with Longchamp, there's a certain amount of collaboration on deciding on photographers and stuff like that. It's something that I'm accustomed to doing behind the scenes.

If you want a film and they don't want you, sometimes you have to go fight for it. Sometimes that ends up just being a meeting really, just sitting down with them and just saying here is my vision for it and here is why I really love it. But for the most part, I think filmmakers gravitate towards people that are excited - as excited as they are about the film and as passionate about it. So sometimes going after it isn't so much a function of auditioning as it is just sitting down with the filmmaker.

The essence of marketing today is to tell a story to people who want to hear it, in a way that resonates with them so they are likely to either respond or connect to you, or tell their friends.

I think [John Larroquette] did a great job. I really do. And he's so wonderful and generous to work with.

When you work with new people, I think that it throws all of the matters into relief, because you have to explain yourself every time. It's like crossing a new border. They want to see your documents.

When you work on a movie or a TV show, you're a family, so if something that's a two-minute thing in the movie is causing a rift in the family, you also have to think about at what point do you fight this, and at what point is this rift worth having in this very small, very tight group of people who are just there to make something great and funny.

I'm interested in what happens to music when other people use it. Whereas there are composers who don't like anyone to touch their music, I think people should because they do things I can't think of.

She often had to remind herself that she couldn't do everything alone. She wasn't always the best person for the job. Sometimes she got tunnel vision and forgot about what other people needed.

I like working with family and friends and people I admire. All my movies are filled with family members of some capacity. I think it means more when you have a personal relationship with someone.